Shaun James Kelly’s final bow with the RNZB
After twelve remarkable years with the Royal New Zealand Ballet, Shaun James Kelly has taken his final bow as a company dancer.
Since joining the RNZB in 2014 from Copenhagen’s Tivoli Ballet Theatre, Shaun has become one of the company’s most admired and recognisable artists. Audiences have been captivated by his dynamic stage presence, technical brilliance, and ability to bring depth to every role he performed. From the mischievous Puck in A Midsummer Night’s Dream and the spirited Mercutio in Romeo and Juliet, to Hansel in Loughlan Prior’s Hansel and Gretel, Shaun created performances that remain memorable long after the curtain fell. His career also encompassed an impressive range of works by some of ballet’s most celebrated choreographers, including William Forsythe, Jiří Kylián, Alexander Ekman, George Balanchine, Johan Kobborg, and Roland Petit.
Alongside his performing career, Shaun has made an equally significant contribution as a choreographer. Since winning the Harry Haythorne Choreographic Award in 2016, he has developed a distinctive creative voice through works including Little Red, The Things We Left Unsaid, The Ground Beneath Our Feet, Alba, Prismatic, and Chrysalis.
While Shaun’s final appearance as a dancer was his dramatic portrayal of Banquo in Alice Topp’s Macbeth, it is fitting that his farewell season has also been marked by choreography, through his reimagining of the White Swan Pas de Deux for our recent Voyages choreographic season. As he embarks on an exciting new chapter focused on choreography and teaching, RNZB is delighted that he will continue his relationship with the company as Choreographer in Residence.
We sat down with Shaun to reflect on his career, favourite roles, creative journey, and what lies ahead.
Shaun as Puck in Liam Scarlett’s A Midsummer Night’s Dream. 2021. Photo credit: Stephen A’Court.
When you reflect on your time as a dancer, which ballets or roles stand out as especially meaningful to you? Have any particular creatives, colleagues or teachers left a lasting impact on you as an artist?
When I reflect on my time with the RNZB, I’ve been so privileged to have danced some incredible ballets. Dancing William Forsythe’s In the Middle Somewhat Elevated was a huge highlight and was a dream of mine since I was a student at English National Ballet School. Working with Thierry Guiderdoni the stager on both ‘Middle’ and ‘Artifact II’ was such an inspirational experience that inspired me not only as a dancer but as a choreographer. Getting to dance works by master choreographers such as Jiří Kylián, George Balanchine, Roland Petit, Cathy Marston, Annabelle Lopez Ochoa and Twyla Tharp was truly a dream come true.
One of my favourite things to do as an artist is creating characters. I have had the privilege to create multiple characters throughout my career such as Hansel, Mercutio, Benvolio, one of the Fab 5 [Cinderella, 2022] and an Influencer/Witch [Macbeth, 2026] to name a few.
The creative that has left a massive impact on me has to be Liam Scarlett. There is nothing I love more than creating a character and a massive moment was getting to work with Liam on the role of Puck in A Midsummer Night’s Dream. It’s a memory I will never forget! His generosity and his love for dance were truly inspirational. He gifted me freedom to create a character within the structure of his choreography and gave me ownership of the character I had created. It is also a role which I got to reprise multiple times, gifting my knowledge and insights of working so closely with Liam to inspire the future artists within the company, keeping the magic alive.
After dancing in England and Denmark, what made you choose New Zealand and the RNZB? What are some of your earliest memories of touring with the RNZB?
I was working with a friend in Copenhagen who knew a dancer with the RNZB and thought my style would be a perfect fit for the company. I took her advice and decided to apply and was excited to accept the offer of a contract from the incredible Ethan Stiefel. He truly believed in me and gave me such amazing opportunities when I first arrived in the company.
I got to dance in my first Balanchine ballet, Allegro Brillante, and as the ‘Wedding couple’ in Ethan and Johan’s Giselle (which I performed for my family in Edinburgh on tour in 2015). I have been lucky enough to tour internationally with the RNZB across the UK, Italy and Hong Kong but the most memorable moment would be when we re-opened the Isaac Theatre Royal in Christchurch. It showed how the strength of the arts brings back hope and happiness to communities in time of hardship, which was very special.
On stage highlights
Shaun’s work Prismatic, made for the RNZB’s 70th anniversary as a full company celebration. Photo credit: Stephen A’Court.
Your career has included a significant choreographic journey as well as performing. How has your choreography practice developed?
I’ve been privileged to choreograph for the RNZB for over 10 years now. From winning the Harry Haythorne Choreographic Award in 2016 with my work Blanć I was then commissioned to create a work for Tutus on Tour in 2017 titled Aura. I then developed my craft with the commission to create the first children’s ballet for Te Papa, which I titled Little Red in 2018, and I was given the title of Choreographer in Residence in the same year. 2019 was my introduction to the main stage with my work The Ground Beneath Our Feet, which I feel is where I solidified my choreographic style and point of view.
2020 I developed a work via Zoom called Behind Closed Doors, which was produced into a short dance film in 2021 and has also been performed by Svendborg BalletTeater in Denmark 2024.
Working alongside Director Sara Brodie and the NZSO in 2021 creating choreography for The Soldier’s Tale was a huge highlight and was performed all over Aotearoa.
2022 was the year of the dance movie, Alba, an ode to my Scottish heritage for the RNZB performed on location at Government House. I also created Breathe for Cystic Fibrosis NZ, to spread awareness of life-changing medication yet to be approved in New Zealand.
A further huge privilege for me was in 2023 when I was asked to create for the RNZB’s 70th Anniversary Platinum Gala. Prismatic was born, paying homage to the wonderful Poul Gnatt and Russell Kerr. I was honoured to be part of the legacy of the RNZB, and the work was taken around Aotearoa in 2024’s Tutu’s on Tour and in a collaborative performance alongside Scottish Ballet in 2025 – it was an absolute dream being part of an evening celebrating both of my homelands.
A true metamorphosis for me was when I created Chrysalis in 2025, telling a story through dance, and letting people show their true authentic self is something that has inspired me throughout my career. I want to thank the artistic team and the dancers for their continued inspiration and encouragement throughout the years, allowing me to let them take risks and trusting me to push them to new heights.
Kate Kadow and Calum Gray in Shaun’s work Chrysalis, 2025. Photo credit: Stephen A’Court.
You have been supported by Mark and Louise Binns since 2017, as part of the RNZB’s Partner a Dancer programme. What has that partnership meant to you, both personally and professionally?
I’ve had the absolute privilege of being partnered by Mark and Louise for almost 10 years. Their ongoing support and an encouragement has been so wonderful. With my family being so far away it has been so lovely to have my Kiwi family in the audience cheering for me in every performance and seeing my career development within the company over the years. I want to thank them personally for everything they’ve done for me and everything that they continue to do to support the RNZB.
During your time with RNZB, you have contributed in many ways as a dancer, choreographer, tutor and mentor. How have these different roles shaped your career?
I feel it is so important to encourage the next generation to thrive within the dance community. To see young dancers in the company now that I have mentored is a true testament, not only to their commitment to dance, but the encouragement they receive from the company. I am delighted to have been able to support these dancers in any little way that I can continue to do, knowing that there is a career pathway for them within the industry and showing them through [my] actions that commitment to your craft can help you achieve your dreams. We are not only the custodians of this artform, but for the Royal New Zealand Ballet. Seeing these young artists thrive gives me huge excitement for the future of dance. It gives me joy to watch these young artists grow within the company and see them achieve their goals. I can’t wait to continue this journey of being a mentor and teacher into the next phase of my career.
Shaun’s work Nexus for The New Zealand School of Dance, Graduation Season 2021, Photo credit: Stephen A’Court.
You have also collaborated on projects outside the RNZB, including The Soldiers Tale with the NZSO, New Zealand Fashion Week, Auckland Art Gallery and work with the New Zealand School of Dance and Scottish Ballet. Can you tell us about some of these projects.
After our collaboration with Scottish Ballet in 2025, I was invited by Christopher Hampson to do some choreographic research and development with Scottish Ballet as part of their Next Generation Campaign. It was unreal, stepping into the Peter Darrell Studio as a choreographer and working with the dancers. Truly inspiring.
It has been a lot of fun, creating dance for interesting spaces, such as New Zealand Fashion Week and collaboration with Auckland Art Gallery. I love the challenge of bringing dancing into unexpected places and creating an experience for an audience like no other.
I was so honoured when I was invited by Garry Trinder to create for the graduate season at the New Zealand School of Dance in 2021. I created a work titled Nexus, which challenged the students to push their classical technique and establish their own creative and innovative flair. I look forward to future collaborations with the School, and I continue to be excited about the talent that is produced from the New Zealand School of Dance.
Are there any stories from your time with the RNZB that you would like to share with supporters?
I have had the absolute privilege of having a relationship with the Royal Academy of Dance New Zealand. I have been invited multiple times as a guest choreographer and teacher at their annual summer courses, a guest judge for Solo Seal exams and I’ve had the honour of teaching the Silver Swans. It’s important to me that dance is accessible for everyone at all stages and ages of learning. I have had the best time teaching both young students and adult learners through these programmes and want to continue spreading the joy of dance.
In studio moments
What will you miss most about dancing with the RNZB?
For me why I think I kept dancing for so long was my absolute love for daily ballet class. It’s a chance and a ritual every morning to better yourself and your technique and artistry. Every day I’ve been constantly inspired by my beautiful colleagues as they take risks and find their artistic voice throughout class. It has been amazing to see young students grow into mature artists, and friends of mine who have flourished in leading roles throughout the years. I can’t wait to be in the audience and cheer for the wonderful talent that the RNZB possesses.
Looking ahead, what is next for you?
I’m currently halfway through the Professional Dancers’ Graduate Teaching Diploma with the Royal Academy of Dance and I’m looking forward to the ISP training in Sydney this July. I also have the privilege of teaching the male scholars’ programme at the New Zealand School of Dance. I look forward to taking this time and setting up my future career within the dance industry as a choreographer, artistic leader and mentor. I would like to personally take this opportunity to thank the audiences of Aotearoa for their continued support and for the love they have shown me throughout the years. I look forward to coming back and working with the company in the future. Till then, kei ōu ringaringa te ao