Russell Kerr has been the treasured father of ballet in New Zealand since he returned here in 1957 after some years dancing in UK, where he had married fellow dancer, June Greenhalgh. His directorship of New Zealand Ballet in 1960s was a visionary and courageous one and his loyal contribution has continued in all the years since. June danced in the celebrated United Ballet seasons of 1959–1960, but then became the mother of two children. Her contribution to ballet in this country may not have been as publicly visible as her husband’s but it was just as real, and she was with him every step of the way.
June Kerr, nee Greenhalgh, was born in 1932, in Southend-on-Sea, England, the youngest of three children. Her father had started his seafaring career on sailing ships and later became a merchant navy captain while her mother held the home fires during his extended periods of time away at sea.
As a child June attended the Cone-Ripman school where the curriculum combined general education with ballet and related theatre-arts training. Originally based in London but relocated during WWII to Hertfordshire, it later became known as Arts Educational School.
Anton Dolin, having danced with Diaghilev’s Ballets Russes, became a pioneer of ballet in England (and toured New Zealand with the Covent Garden Russian Ballet in late 1930s). Dolin visited the Cone-Ripman school after World War II and selected 12 young dancers, June Greenhalgh among them, to join a troupe he and Alicia Markova were forming. This later developed into a permanent London-based company, Festival Ballet, of which June was thus a foundation member. (Renamed English National Ballet in 1989, this is the company that performed a season of Giselle in Auckland earlier this year. The ballet world sits across national boundaries and through time, its best dancers becoming citizens of an international ‘country’).
In 1952 Anne Rowse, a young New Zealand dancer training in London, also joined Festival Ballet, and she and June became instant friends. Anne spoke movingly at the funeral of the lifelong friendship that ensued.
June Greenhalgh in Ruth Page’s The Merry Widow/Vilia. Festival Ballet 1953
In 1953 another young New Zealander, Russell Kerr, joined Festival Ballet. He and June held hands, but he explained to her they’d better not get too serious because he would at some stage be returning to New Zealand, feeling a moral obligation to do that on account of the Government bursary he had been awarded. ‘Not a problem. I’d come too,’ replied June, and so they were married without delay.
Festival Ballet, under the Polish impresario Julian Braunsweg, toured and performed in UK, Europe, Canada and US with memorable programs, and the likes of Igor Stravinsky conducting in the pit. In 1957 the Kerrs left all that behind and came to settle in New Zealand. (Lucky I was, to be a child pupil at Nettleton-Edwards School of Ballet in Auckland where Russell became a partner. I continue to learn from him to this day).
Make no mistake—Russell would become the lion, and June the lioness, of ballet in this country when they moved to Wellington in 1962 and he became director of New Zealand Ballet. (Poul and Rigmor Gnatt had been the pioneering tiger and tigress who preceded them, since 1953). With unstinting loyalty, Kerr delivered pedigree standards of heritage repertoire (Swan Lake, Petrouchka, Prince Igor, Schéhérazade, Coppélia, Nutcracker, and much more), to put New Zealand firmly on the world ballet map. His own choreographic output was enormously prolific and gave the Company some of its greatest hits—Prismatic Variations, Carnival of the Animals, Peter Pan, A Christmas Carol, Terrible Tom … it’s a very long list.
The spouse of such a driven choreographer is the supportive, attentive, unpaid and often invisible, kindest critic who stays calm and acts as a beacon when storms rage and finances plummet—or, in the Kerrs’ case, when Russell worked himself close to death to sustain the company endeavour, through to 1969. A disastrous fire that had destroyed almost all the Company’s resources in 1967 had not helped.
There were later periods directing Auckland Dance Centre, then the Kerrs moved to Christchurch which would remain their home until today. Southern Ballet Theatre was a highly enterprising initiative and for years productions were mounted there on a miniature scale but uncompromising in dance and music standards. There were numerous collaborations with composer, Philip Norman, and designer, Peter Lees-Jeffries, so Christchurch was well served in that time. No-one can remember how it was financed probably because there was no budget worth remembering.
June would accompany Russell to Wellington whenever he was engaged by Royal New Zealand Ballet to stage a production on the company. She was always so pleased to walk in the Botanical Gardens, to visit a gallery, or over a coffee to swap family news, always with the kindest interest and sweetest nature. ‘No I won’t have another coffee thanks. I’ll be meeting Russell for lunch in the rehearsal break so I’ll have one with him then.’ In later years the dear couple would still venture out together to a local café and continue their lifelong habit of people-watching in public places. ‘That’s where you learn about different characters—how they move, what they look like, you can guess much of their experiences from such things. It’s like research for choreography,’ Russell would say.
They were still holding hands when June died last week. The photos on the order of service show a fine-boned, wide-eyed, gorgeous redhead, gamine beauty, a shade reminiscent of Moira Shearer (the ballerina in the famed film, The Red Shoes ). Ballet in New Zealand owes much to the Kerr family.
In 1940, June, aged 8, was on the list of children to be repatriated out of war-time London to live out the duration of the war elsewhere, in her case on the SS City of Benares to Canada. For reasons never explained, her parents removed their daughter from the passenger list the day before it sailed, and just as well because the ship was torpedoed in mid-Atlantic.
June would later tell that story, and when asked ‘What happened to the 90 children on board?’ would answer ‘Oh, they were all saved’ and she went to her grave believing that to be so. In fact, 77 of the 90 children on board died, but it’s a reasonable guess June’s parents believed that an 8-year-old didn’t need to know that. It was a heart-stopping moment at the funeral to learn about what was probably the only ‘lie’ anyone ever told to this kind and trusting woman
June Kerr: Born South-end-on Sea, England, 12 June 1932; married Russell Kerr, 1 son, 1 daughter; died Christchurch, New Zealand, 29 October 2018
A version of this obituary first appeared in The Dominion Post on 24 November 2018. Sources: Russell Kerr, David Kerr, Anne Rowse, Keith McEwing.
Featured image: June Greenhalgh & Russell Kerr in Prismatic Variations. Choreographed by Russell Kerr and Poul Gnatt; designed by Raymond Boyce. New Zealand Ballet 1960. Photo: © John Ashton