A lasting legacy for a New Zealand dance icon.
One night after ballet rehearsal, 8-year-old Tanemāhuta Gray stood waiting outside the Royal New Zealand Ballet’s Vivian Street rehearsal studio. His ride hadn’t turned up and it was getting late. As he waited, the eminent Sir Jon Trimmer KNZM MBE appeared beside him, slipping the 35-cent bus fare into his hand so he could get home safely.
This was just one example of Sir Jon’s kindness – a kindness that was extended to many throughout his lifetime, transcending age, experience, background, or perceived status.
“It didn’t matter who you were, Jon made everyone feel important,” said long-time friend, Roger Booth.
Sir Jon Trimmer.
A magnetic performer
Born in 1939 into a creative family, Sir Jon first learned to dance at his sister’s ballet school at age 12. He studied art at Wellington Technical College, before joining the New Zealand Ballet Company in 1958, soon after leaving school.
He performed with companies across the world, including Sadlers Wells (UK), Australian Ballet and Royal Danish Ballet, before bringing his magnetic artistic brilliance back to New Zealand Ballet in 1962.
Despite his experience and stature - “one of the top 10 dancers in the world,” said friend of 62-years and former colleague, Kevin Baddiley - Sir Jon remained approachable and inexplicably humble, performing with the same energy and artistic integrity in Wellington as he would have in Washington or the West End.
“Jonty was just as at home performing with such greats as Margot Fonteyn and Rudolph Nureyev as he was performing for children at a community theatre – he just loved it!” said Kevin. He recalls a children’s pantomime production at Lower Hutt’s Expressions Theatre, when all five back-to-back performances were delivered with as much energy and vigour as the first to a symphony of delighted screams.
In rehearsals, he didn’t pull rank. “He was one of us,” said Kevin. “I think it was the fact that he came from just down the road – although extremely accomplished, he wasn’t an impossible figure.”
This was aided by his quick wit and theatrical sense of humour, a quality which endeared him to fellow dancers and got him ejected from class - “on more than one occasion!” recalled Kevin.
It was this same dynamic theatricalism that allowed him to deliver spellbinding contemporary, classical and character performances throughout his career, including a mysterious Dr Coppélius in Léo Delibes’ Coppelia, an endearing Friar Lawrence in Sergei Prokofiev’s Romeo and Juliet and his iconic portrayal of Captain Hook in the Royal New Zealand Ballet’s 2009 production of Peter Pan – “a masterclass in full-bodied physical comedy,” noted former RNZB dancer and choreographer, Loughlan Prior.
“Even as he got older, he possessed the mischievous twinkle of youth,” said Loughlan. “He carried this spirit through everything he did; not only his portrayal of characters on stage, but in his manner of working in the rehearsal studio.”
Although his performance appeared effortless, it was anchored by hard work, strict discipline, and rehearsal. By the time he accepted his knighthood for services to ballet in 1999, he was so engrained in the practice of pre-performance visualisation that when the knighting stool was repositioned from the rehearsed left knee last-minute, he panicked and was bestowed the honour on two knees rather than the customary one, eliciting a wry smile from then Governor-General, Sir Michael Hardie-Boys.
A love for his local community
A long-time resident of Paekākāriki, where he lived with his wife, Jacqui, Sir Jon was a champion of the arts in Kāpiti and supporter of all-things local.
“Jon gave his support to everything,” said Kāpiti Coast Mayor, Janet Holborow. “From talent quests to the Kāpiti Art Show to the opening of our local EV charging station, Sir Jon was always incredibly positive and encouraging of local initiatives.”
He was patron to many local organisations including the Paekākāriki Station Museum Trust and Te Raukura ki Kāpiti, the local performing arts centre where the Sir Jon Trimmer Theatre is now housed and performing to and with school children across the district with Kāpiti Kids Motivation Trust.
Although somewhat of an icon locally, he always offered a friendly face and an enthusiastic ‘hello, darling’ as he passed you in the street. “He was everybody’s friend, everyone in Paekākāriki knew him, and all who approached him were made to feel that he also knew them,” said Roger.
Giving back to the next generation
Throughout his lifetime, Sir Jon was a mentor to many. “Forever a source of encouragement and inspiration, the wisdom and stories that Jon has passed down from his many years in the industry continue to nurture the next generation of dancers,” said Loughlan.
In a poignant obituary published on the Royal New Zealand Ballet website, it states “for tens of thousands of New Zealanders, seeing Jon onstage was the start of a lifelong love of dance: he opened the door of the theatre and welcomed everyone in.”
Following Sir Jon’s death in October 2023, Roger Booth wanted to find a way of honouring his memory and ensuring that his generosity of spirit would continue to be felt. He helped to establish the Sir Jon Trimmer Scholarship Fund with Nikau Foundation in early 2024.
Scholarships from the fund, which will be overseen by the Creative Kāpiti Trust, and will provide opportunities and transformative support for local artists long into the future, will be awarded to visual and performing arts practitioners, respectively, on a biennial basis.
“Even the most iconic, memorable people, like Sir Jon, eventually become forgotten,” said trustee, Liz Koh. “By establishing the Sir Jon Trimmer Scholarship Fund with Nikau Foundation, the Creative Kāpiti Trust is ensuring that his memory lives on, his passion for performing arts continues to be felt, and he will continue to inspire new generations of performers and visual artists long into the future.”
“Kāpiti is a place where the arts are truly valued and celebrated,” said Mayor Holborow. “It is so important that we provide local artists with the opportunity to spread their wings, support them in their creation and in their careers.”
“Many of us performers operate off the smell of an oily rag,” said Tanemāhuta Gray. “Having more funding to help artists to pursue our craft will be transformative.”
All donations to the fund will be responsibly invested and grown, with scholarships distributed when it reaches its fundraising goal of $75,000.
A lasting legacy
Sir Jon Trimmer will be remembered in many ways. As a kind, caring man who made everybody feel like somebody. A magnetic performer who enchanted audiences of all ages. An icon who left an indelible mark on Aotearoa New Zealand’s performing arts sector. An individual who personified pure artistry.
To Sir Jon Trimmer; a standing ovation that will never quieten.
Give a gift today, to support Kāpiti performing and visual arts practitioners long into the future.
Internet Banking:
Westpac - Lambton Quay - 03 0502 0163248 001
Once you have donated using the reference ‘Trimmer’, please let the Nikau Foundation team know by emailing accounts@nikaufoundation.nz with your name, address and noting that you would like to support the Sir Jon Trimmer Scholarship Fund.
