Evolving boundaries between ballet and contemporary dance, nature and culture, and a yearning collective gaze that leaves us wondering.

“The programme’s second work, Shaun James Kelly’s Chrysalis, set to Phillip Glass’s solo piano work, Metamorphosis I – V, takes advantage of the ready-made structure the music provides, although it, too, has a wistful, nostalgic dimension that links it in tone to the preceding ballet. As the title hints, Kelly focuses on the layers of identity that people wrap themselves in, or indeed, employ to disguise their true selves from others and even themselves. Rory William Docherty’s costume designs play an integral part in the exploration of this concept, with the dancers first appearing wrapped in loose-fitting street clothes, suggesting a past, but not precisely defined, era. As the ballet unfolds, the dancers are unwrapped, gradually discarding their outer layers to reveal multi-coloured unitards beneath. The discarded outer layers are placed on coat hangers that have been lowered from the flies, and they are hoisted above the stage as ghostly presences that continue to cast their shadows over the dancers below. Kelly uses a cast of five couples to explore relationships of differing kinds, assembling them in a sequence of changing configurations as these evolve and fall apart. The consistent connection between the lead couple of Ana Gallardo Lobaina and Joshua Guillemot-Rodgerson provides a linking thread throughout the work, and as Glass’s music returns to its beginnings in the closing section, they are united in a heartfelt pas de deux that is a touching tribute to the enduring relationship of Kelly’s parents.”

Reviewed by Dr Ian Lochhead

A triumphant trifecta it was impossible to look away from

“The equally compelling middle element of a triumphant trifecta was Chrysalis, choreographed by Shaun James Kelly and scored by Philip Glass.

A study of a life, that begins and ends with the constant of Kelly’s parents, the attention-grabbing power of this production is as much in the remarkable costume design of Rory William Docherty and the lighting design of Daniel Wilson as it is in exquisite and at times impressively powerful movement and Glass’ score. Colour and light are crucial elements in the metamorphosis on show.”

Reviewed by Grant Shimmin

Grounded, striking and impressive cross of contemporary & ballet- a beautiful celebration of 'home' - Royal New Zealand Ballet

“The beautiful work Chrysalis, choreographed by Shaun James Kelly, provides the highlight of the evening for me in the striking pas-de-deux work, particularly the performance of Kate Kadow and Calum Gray at the end of the piece. It has several moments of pure magic. The work is choreographically inventive and upbeat, with gorgeous lifted back-arches, arched-back jetés, skittish floor slides and even fouettes as the signature vocabulary. The strength shown by the men of the company is particularly impressive. Drawing on an eclectic range of influences and the Philip Glass music from the album Metamorphosis and Other Works, Kelly alludes to the butterfly emerging from the chrysalis as a symbol for his own “journey of self-discovery”. Layer upon layer of the exquisite costumes designed by Rory William Docherty are shed as the true selves of the dancers emerge, clad only in body-hugging unitards. It provides effective imagery, which is lit with a sensitive design by Daniel Wilson.”

Reviewed by Jenny Stevenson

An evening of energetic contrasts - Royal New Zealand Ballet

“Chrysalis is a more contemporary reflection yet classical nonetheless, by choreographer Shaun James-Kelly, who paints a more visually bright work, with duets costumed in voluminous overcoats, reframing colour blocking undergarments, dresses, then all encompassing marbled leotards. Garments are taken off and suspended on rising coat hangers, making the upper space a floating closet of sorts. Phillip Glass’s music is a sonic backdrop for more audacious movement, strong, clinical with flashes of power and sass.”

Reviewed by Tiaki Kerei

Home, Land and Sea

“After the first interval was the premiere of  Shaun James Kelly’s “Chrysalis” set to the Phillip Glass music “Metamorphosis” which was inspired by the Franz Kafka short story of  a man who wakes up to find his body has been changed to that of a large insect or chrysalis.

The setting for the dance also gave a nod to Kafka’s other work “The Trial” with various figures, some in trench coats roaming the stage, divesting themselves of items of clothing , an act which provided a clever metaphor for transformation – the shedding of skin and the emergence of the butterfly from the chrysalis.

The music features Glass at his minimalist  best with repeated phrases and  eerie looping sequences. There were also long, enigmatic  silences which were as expressive as the music and emphasised the notions of the dream, the surreal and the transformation.

The musical landscape with its abrupt, stark sounds was echoed by  the dancers with their carefully choreographed movements,  rapid changes and tense interactions.”

Reviewed by John Daly-Peoples

Home, Land and Sea. Royal New Zealand Ballet (with guests from New Zealand Dance Company)

“Shaun James Kelly is a dancer and resident choreographer at RNZB. In this premiere, Chrysalis, he collaborates with designer Rory William Docherty to explore the metaphor of layered clothing, what that might say of a person wearing it, or be revealed as layers are removed. The work opens with a tribute to Shaun’s parents and the longevity of their relationship. Hats and coats are styled for 1950s, soon removed then placed on coathangers that are raised high above the stage—suggesting the passing of time and changing of fashions. Party attire is worn and enjoyed … these layers too are removed and lifted away, revealing bodytights in various shades of nacreous lustre. The work is set to piano music by Philip Glass, with minimalist motifs repeated to build effect. Several short passages are danced in silence which suggests that sound too can be layered. Danced connections between couples and friends reference the value in personal freedom and the confidence to express gender identity. The cast of ten dancers move with style and commitment in the combination of familiar and new ballet vocabulary, and Shaun will have been rightly pleased that his work is delivered with such aplomb.”

Reviewed by Jennifer Shennan

Review – Home, Land and Sea – Royal New Zealand Ballet with The New Zealand Dance Company

“Following the first interval, Shaun James Kelly’s first RNZB commission for the main stage Chrysalis celebrates its world premiere on the opening night of the triple bill season. Since being appointed as a Choreographer in Residencein 2018, he has developed his aestheticperspective through works for Tutus on Tour,children’s ballets, and in-house choreographicprojects. Kelly describes his style as “based in theclassical world, bringing it into today; more extended and extreme - new age classical ballet”.Chrysalis has a clear conceptual arc, exploringlayers in both literal and figurative ways, drawingon relationships, chance encounters,metamorphosis, and becoming the person youwere always meant to be. Set to composer PhilipGlass’ emotively rich Metamorphosis I - V(movements of which are inspired by FranzKafka’s 1915 The Metamorphosis, the novellaabout a man who inexplicably awakes transformed into a monstrous insect), Chrysalisfinds the fine balance between substance and meaning, and space for audience interpretationand personal response. Kelly worked closely with designer Rory William Docherty on costumeswhich metamorphosize superbly as set elements for Chrysalis, resulting in a resplendentlycolourful collection of shape and texture throughout the work. Cohesive costume palettes and mid-century silhouettes are juxtaposed with heavily-coloured late-1970s unitards, sheer slips, and the occasionally incongruous translucentfedora. Kelly’s choreographic signatures includerigorous and challenging partnering, swift dynamic changes, and exploring classical movement vocabulary through a modern lens. Among a strong cast of ten dancers, the pairingand unison/canon contrasts of Kirby Selchow andJemima Scott are engaging and attractive, andChrysalis is an audience favourite.”

Reviewed by Brigitte Knight

Meticulous crafting, choregraphic intricacies, and a strong statement of unity - Royal New Zealand Ballet

“Chrysalis by Shaun James Kelly opens with five couples, each wearing a rather quirky layering of clothing that we can assume will be removed to fulfil the title. It is a sort of wry fashion parade, and the layers are whisked away to suspend on coat hangers above the dancers. A rhythmical score by Philip Glass works well and also matches the layered feeling and textural intricacies of the choreography. The final unitards worn are brightly multi- coloured.  I expected blandness to be ultimately reached, but as the curtain fell, these dancers still had vitality and a strong presence.  Humanity prevails?“

Deirdre Tarrant

Royal New Zealand Ballet’s Home, Land & Sea: contemplative and hopeful

“Chrysalis, the second ballet of the evening and a world première, showcases not just the talent of RNZB choreographer-in-residence Shaun James Kelly but fashion designer Rory William Docherty, set to the music of Philip Glass (‘Metamorphosis’) with lighting design by Daniel Wilson.

The description published by Lucire in May does not do the ballet justice. We described Kelly’s themes of ‘friendship, connections, relationships and self-discovery’, and how those we encounter alter our paths. However, visually this is a far more ingenious ballet and depends on Docherty’s costume designs as much as the choreography.

Two dancers appear dressed in heavy coats, the tailoring hinting at social position and profession. Kelly based the opening pair on his parents. Docherty wanted these opening costumes to convey convention, what people believe they “should” wear in society. The garments, even fedora hats, however, are incredibly light and translucent: there are even pinstripes and Prince of Wales checks stitched into organza. As the dancers remove their outer layers, thereby freeing themselves from the restrictions of society, you notice how sheer and fine they are. Docherty cites Martin Margiela, late-’70s–early ’80s Yves Saint Laurent and Yohji Yamamoto as inspirations.

Hangers drop from overhead and before long there are half a dozen coats and dresses suspended over the stage.

Each of the dances feature the shedding of layers to reveal the person’s true self. Kelly also wanted to demonstrate how our everyday clothes themselves are costumes that show whether we conform or not.

One powerful moment in Chrysalis sees one dancer reach for her suspended dress, a momentary desire to mask her true self—a reminder that not everyone is ready to transform or show themselves authentically. But ultimately, each member in Chrysalis’s cast finds their personal growth.”

Reviewed by Jack Yan, Lucire

Royal New Zealand Ballet with Scottish Ballet

“…it was an exceptional experience to watch the second item on the program, Prismatic from RNZB Choreographer in Residence, Shaun James Kelly. Kelly played with movement without removing so many balletic essentials as seemed to happen in Schachmatt. Kelly’s choreography showed fluidity; detailed interaction between dancers without that interaction being frenzied; smooth and curving shapes from the arms; lifts that were quite spectacular and that demonstrated a remarkable manner of moving through space; and a great use of the stage area, often in unexpected ways.

We were watching a particular choreographic voice, but one that was not removing what makes dance balletic. Prismatic gave me goose bumps and it was a pleasure to watch the dancers performing to an audience, to us. That’s a personalised approach and was not something I got from the first item. To me Prismatic was theatre.”

Reviewed by Michelle Potter