The Company have had some marvellous successes during the past three years and we keep going from strength to strength. I am happy to say that the locale consensus is that my work and influence has produced a better and more youthful dance company then it has ever been in it's 45 year history.

Last year will no doubt be remembered as one of the most remarkable years in the history of The Royal New Zealand Ballet. From moving into our first ever purpose-built permanent home with beautiful state of the art studios, and touring to 45 New Zealand centres in one tour. In addition we have managed to secure direct line Government funding - quite a step forward that will help to safeguard our future.

The dancers look great, and last year we performed some fabulous repertoire in the newly re-furbished St James Theatre in Wellington: Kim Brandstrupšs new Sleeping Beauty was wonderful. In our subsequent season, and in complete contrast of style, we did a triple bill including a new New Zealand work called Smashing Sweet Vixen with a commissioned score by the extremely talented New Zealand composer Gareth Farr, and Jiri Kylian's Soldaten Mis which was hailed as one of the Company's greatest artistic achievements ever.

1999 Started off with a brand new ballet based on J. M. Barriešs famous story of Peter Pan. It was commissioned from a creative team consisting of some of the finest artists in New Zealand. The choreographer Russell Kerr, a living legend in New Zealand dance and responsible for some of the most successful productions in the history of the Royal New Zealand Ballet, produced a ballet that fitted the Company like a glove, providing lots of opportunities for the dancers to show themselves off in the very best light. His longstanding friend and collaborator Philip Norman, a prolific composer, wrote a delightful music score which complimented the choreography excellently, and the production was finished off with splendid set and costume designs by Kristian Fredrikson.

Matz Skoog Interview

At the opening night in Wellington Peter Pan was greeted with unanimous praise by audiences and critics alike, and the subsequent nation wide tour of the production saw no decline in enthusiasm from our patrons. The Company performed to full houses veritably in every venue throughout New Zealand. I feel confident that we have acquired a production that will delight our audiences for years to come.

The Dancers are now back in the studio and work on our next season is already well underway. In this programme we will present works by three of the greatest choreographers in the history of dance: Balanchine, Kylian and Petipa. Patricia Neary is back with us once again, and this time to stage Balanchinešs wonderful piece Allegro Brilliante. I also have the pleasure to welcome Patricia Ruanne to the Company, Patricia is here to produce Raymonda act lll , and the triple bill will also provide The Royal New Zealand Ballet with another opportunity to perform Kylianšs outstanding piece Soldaten Mis. Our guest teacher for this season is my old friend Garry Harris who will keep us all sane, and no doubt well entertained, throughout the process.

The future of the Company management is looking great with Susan Paterson in the General Manageršs chair. Sue is coming to us with a distinguished career in arts management in Australia and New Zealand, and I am very much looking forward to be working with her in the years to come. Sue and I are good friends and share most aspirations, so I am confident that together she and I will be able to take the Company the next step forward on its exciting journey. We have some very exciting plans, and the Royal New Zealand Ballet is now definitely poised to take the leap into the 21st century.