The international dance community is mourning the loss of Matz Skoog, an artist, director and mentor whose influence was felt across Europe, Aotearoa New Zealand and far beyond. Hugely respected and fondly regarded, Skoog’s career spanned decades as a dancer of rare musicality and intelligence, and later as a visionary leader whose artistic curiosity helped shape the trajectory of major ballet companies.
Born in Stockholm, Skoog trained in Sweden and Russia before graduating and joining the Royal Swedish Ballet. In 1979, he joined English National Ballet, then known as London Festival Ballet, initially as a Soloist under the directorship of Dame Beryl Grey. He would later recall that first day with characteristic warmth and clarity: “I turned up on the first day and it was like I knew I had come home. It was a tough, hard-working ballet company, but I loved it.”
His talent was quickly recognised. Reviewing The Nutcracker in 1980, the Financial Times noted the arrival of “a new recruit to the company from Sweden, Matz Skoog. A young dancer of clear, good classical technique; pleasing ballon and elevation… even on this showing he is a valuable acquisition.” It was an early glimpse of a performer whose combination of classical refinement and dramatic instinct would define his stage presence.
Over his years with English National Ballet, Skoog danced an extraordinary range of roles as Principal and Guest Artist. These included Albrecht in Giselle, James in La Sylphide, Romeo and Mercutio in Rudolf Nureyev’s Romeo and Juliet, Romeo and Benvolio in Frederick Ashton’s version of the ballet, Franz in Coppélia, Anubis in Glen Tetley’s Sphinx and the Moon in Christopher Bruce’s Cruel Garden. He also created the role of the Interrogator in Bruce’s iconic Swansong, a work he performed internationally and which became closely associated with his name.
Beyond English National Ballet, Skoog’s performing career took him to Royal Swedish Ballet, Nederlands Dans Theater and Rambert Dance Company. Working with many of the most influential choreographers of the late twentieth century, he became known for dancing “with a light, classical silkiness”, as the New York Times observed in 1989, a quality that allowed him to move seamlessly between classical and contemporary worlds.
After leaving English National Ballet as a dancer, Skoog worked internationally as a freelance performer and producer before arriving in New Zealand in 1996 to take up the role of Artistic Director of the Royal New Zealand Ballet. His impact there was profound. Drawing on his extensive touring experience, he understood the importance of building meaningful relationships with audiences in a geographically dispersed country. In 1997, he established the RNZB Road Tour, later known as Tutus on Tour, significantly expanding the company’s national reach. He is also credited with revitalising the organisation through securing essential funding and bringing the work of leading international choreographers to the New Zealand stage.
In 2001, Skoog returned to the UK as Artistic Director of English National Ballet, a role he held until 2005. His vision was expansive and forward-looking. Alongside a deep respect for the classical canon, he sought to broaden the company’s repertoire through contemporary commissions. During this period, he introduced Wayne McGregor’s first work for a classical ballet company, 2 Human, alongside new creations by Michael Corder, Cathy Marston and Christopher Hampson. At the same time, he reaffirmed the importance of classical excellence, bringing Sir Kenneth MacMillan’s The Sleeping Beauty into the repertoire, a production that remains a cornerstone of the company today.
Even as his career continued to take him across the world, Skoog’s relationship with the Royal New Zealand Ballet endured. He returned to stage La Sylphide in 2009, served as Interim Artistic Director for nine months in 2011 and made many subsequent visits. Those who worked with him consistently spoke of his high expectations and precision, balanced by generosity, calmness and a genuine care for artists at every stage of their development.
Reflecting on his passing, Artistic Director of the Royal New Zealand Ballet Ty King-Wall said “The RNZB whānau and the wider dance community has lost a great leader, luminary and custodian. Matz made an indelible contribution to ballet in New Zealand, and this legacy has continued far beyond his time here as Artistic Director. His generosity, insight, calmness and care for the art form always shone through and benefited so many, across generations and around the world.”
The Royal New Zealand Ballet has extended its love and sympathy to Skoog’s wife Amanda, Managing Director of the company from 2007 to 2015, their sons Sam and Louis, and to his wide international ballet family. Matz Skoog will be remembered not only for the breadth of his artistic achievements, but for the integrity, curiosity and humanity with which he approached his life in dance.