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Robin Kelly hasn't fallen far from the tree with a career as a molecular biologist. His parents, both scientists by training, valued the arts and taught him the importance of creative thinking.

"Thanks to them I’m able to use these skills to play and discover – whether I’m in the lab or at the piano."

Robin Kelly hasn't fallen far from the tree with a career as a molecular biologist. His parents, both scientists by training, valued the arts and taught him the importance of creative thinking.

"Thanks to them I’m able to use these skills to play and discover – whether I’m in the lab or at the piano."

In the latest NOT my day job series on The Big Idea, highlighting creatives with multiple careers, Robin says while he would relish devoting his time to his creative endeavours, he enjoys his day job and "it’s hard to do a bit of molecular biology in your free time."

Qualifications: BSc(Hons) in Molecular Biology, BMus in Composition, AMEB piano performance

Tell us about your day job 

I work at Caldera Health – a molecular diagnostics company working towards a better diagnostic test for prostate cancer. I’ve only been there for a couple of months – it captures my passion for creative, meticulous science, plus it has the potential to really help people, which is important to me!

Tell us about your creative work when you're NOT doing your day job?

I’m pretty full on the rest of the time in either theatre production or music – sometimes both, as in the case of Earnest at the moment. I love watching everything falling in to place from the production side of things, it’s incredibly satisfying, and being able to play music for a job is always a joy.

How do you manage juggling both?

To be honest, sometimes I don’t – it can be incredibly stressful, and sometimes you just don’t have enough hours in the day. At those times it's so important to have a strong support network around that help you remember why you’re doing it all, and to help you get your energy back.

Tell us about your creative background.

I did a lot of music and dance as a child – thanks to my parents who believed in the value of the arts. They’re both scientists by training, and more importantly they taught me the importance of creative thinking in all disciplines. Thanks to them I’m able to use these skills to play and discover – whether I’m in the lab or at the piano.

What has inspired you? Who or what keeps you going?

As cliched as it may sound, my partner Cherie Moore is a constant source of inspiration. We challenge each other personally and professionally, and that keeps us both going, both passionate about the work we’re doing, both wanting to be better. Some people like to keep personal and professional lives separate, but for me it’s the most exciting thing about the work I do.

Would you like your creative work to be full-time?

That’s a really difficult questions – if I was full-time in the creative arts, well, it’s hard to do a bit of molecular biology in your free time. I’d find that pretty disappointing, but at the same time would relish the opportunity to devote myself to the arts more fully.

What would help you achieve this?

It always comes down to money, unfortunately. My partner and I run Last Tapes Theatre Company together, and freelance on the side, so rent and bills can be pretty scary things at times. I think if we continue to develop our body of work as a company and as individuals we’ll start to find the more reliable support we need to spend more time committed to the arts.

If you had the chance to start your creative career or path again, what would you do differently?

I’d dance. My biggest regret is that I gave it up when I was an awkward teenager. Gene Kelly is my idol, if I could move like him I reckon life would be pretty sweet.

What advice would you give to someone pursuing a similar creative career or pathway?

While you’ve got the energy, say yes to absolutely everything, and really relish the experiences that that brings about. Then learn to say ‘no’. That’s the hardest lesson to learn sometimes, but it will be the most important word if you want to keep your passion alive and make good art.

Tell us about your recent or upcoming creative projects.

We’re in rehearsals for Earnest – an adaptation of The Importance of Being Earnest, set in a 1950s gay club with an all-male cast, an all-female band, and a soundtrack of the greatest hits of Cher. Done in soul/blues arrangements. It’s the most glorious, exciting, and invigorating project I’ve worked on for a while – and most of all, it’s FUN. Our company is currently on a national tour of prisons, schools, and theatres with Verbatim, and our Earnest co-producers Fractious Tash have come out of a very dark adaptation of Titus. We’re both relishing the opportunity to celebrate the pure joy that Oscar Wilde (and Cher!) bring to the stage.

What’s your big idea for 2014?

The buzz-word for me for 2014 has been ‘collaboration’. I think this is a pretty big idea for young companies to embrace, but we’ve found it absolutely thrilling to come together with other companies and organisations and share the creative process. It’s allowed us to be a part of Ben Henson’s madcap vision for Earnest, and to tour Verbatim nationally with social justice organisation JustSpeak.

I think it’s the key to surviving and flourishing in the creative sector – not being afraid of sharing ideas with someone else.

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Robin Kelly

Robin currently works around Auckland as an producer, accompanist, repetiteur, rehearsal pianist, musical director, and production manager. Robin has worked with many of Auckland’s professional arts practitioners having both musical and creative input on a vast range of musical productions including the recent International Cabaret Festival with Both Sides Now: Julia Deans sings Joni Mitchell. Robin has worked as musical director for Fitz Bunny: The Lust for Glory (Auckland Theatre Company, 2010), Seussical the Musical (Manukau Performing Arts, 2009), The Full Monty (Playhouse Theatre, 2008),  Footloose (North Shore Music Theatre, 2010), and Songs For A New World (North Shore Music Theatre, 2011).
 
In March of 2012 Robin was the musical director, pianist, and production manager for Last Tapes Theatre Company’s first production – The Last Five Years. The same year he also worked as Musical Director for the Dionysos’ production of The Red Chair, staged in Q Theatre’s Loft, David Coddington’s production of Tell Me On A Sunday starring Carly Binding, and as associate musical director Silo’s production of Brel.

In 2013 Robin produced the sell-out cabaret A Light In The Dark in Auckland under the mantle of Last Tapes Theatre Company. Most recently Robin worked as the production co-manager along with his partner Cherie for Janice Finn’s production of The Girl In Tan Boots at the Basement Theatre in February of 2014.

Robin was the production co-manager, tour manager, and technical operator for the November 2013 Last Tapes/JustSpeak production of Verbatim, and is the producer for the production’s upcoming national tour of schools, corrections facilities, and regional theatres from Northland to Invercargill in August.

Robin’s many other professional creative roles have also included repetiteur for Anything Goes (Amici Productions/Auckland Music Theatre, 2011), conductor for Cabaret (Senior College of New Zealand, 2011), show pianist for Cinderella (Caught Jesters, 2011), repetiteur for 42nd Street (Amici Production/Auckland Music Theatre, 2010), audition pianist for Cabaret (Auckland Theatre Company, 2010), rehearsal Pianist for Sweeney Todd (Peach Theatre Company, 2010), arranger, composer, and pianist for The Libertine (Stage 2 Production, 2009), pianist for Blood Brothers (Peach Theatre Company, 2008), arranger and conductor for MTV and Midnight Youth (2010), and composer for Land of Hearts’ Desire (Massey University, 2006).

Robin has worked as a tutor for the National Youth Theatre Company (NYTC) and Centre City Music Theatre (CCMT). Robin also sits on the board of CCMT.

When he’s not in the theatre, Robin is a scientist for Caldera Health Ltd – a cancer diagnostic research company.