Kevin Jackson and Andrew Killian announce retirement

The Australian Ballet has announced the retirement of two of its most established and admired dancers, Andrew Killian and Kevin Jackson, who both leave the company after long and highly successful careers.

Killian joined the company in 2000 and was made a Principal Artist in 2011. He went on to dance lead roles in countless ballets including Kenneth MacMillan’s Manon, both Stephen Baynes and Graeme Murphy’s Swan Lake, Graeme Murphy’s Romeo & Juliet, Peter Wright's Nutcracker and John Neumeier’s Nijinsky.

 Artistic Director of The Australian Ballet, David Hallberg, said in a statement: “I have known Andy personally since I first came to Melbourne in 2010 and have always admired his ease of dancing and approach to work. Nothing was ever too much to take on. A consummate team player, one committed to the glory and uniqueness of this company, Andy has always been ‘one’ with his colleagues. I know he will be missed within the ranks. . . .”

Kevin Jackson graduated from The Australian Ballet School in 2002, joined The Australian Ballet in 2003 and was appointed a Principal Artist in 2010; he has represented Australia as a guest artist to some of the world’s most celebrated companies. Jackson was chosen to create the lead male roles in David McAllister’s The Sleeping Beauty and Lucas Jervies’ Spartacus, and performed Prince Siegfried in Graeme Murphy’s Swan Lake on opening night of The Australian Ballet’s 2012 New York tour, part of the company’s 50th anniversary celebrations. He was also a remarkable contemporary dancer and excelled in works by John Neumeier, Alexei Ratmansky, Wayne McGregor and Alice Topp. Jackson was honoured by invitations to guest with American Ballet Theatre and The Royal Ballet.

“Kevin is a soulfully deep artist; one that touched his audiences and colleagues with intense interpretations of the vast array of repertoire that The Australian Ballet offered him. . .," said Hallberg. "Kevin immersed himself in the complex roles, going to an artistic place that required every bit of him. He spared nothing. He gave everything. This is the true sign of an artist; the devotional commitment to any role. Behind the scenes, he was as warm a colleague as any: devoted on stage, but human off it.”