Remembering Patricia Ruanne (1945 – 2022)

Ruanne was born in Leeds in 1945.  She began taking dance classes at the age four, and joined the Royal Ballet School at 13. In 1962, she joined the Royal Ballet, and danced for their Touring Company, until joining London Festival Ballet (as we were known then), in 1973. 

Becoming Juliet

An acclaimed dancer, Ruanne is famous for creating the role of Juliet in Rudolf Nureyev’s landmark production of Romeo & Juliet in 1977. She was one of a small group of dancers who worked with Nureyev late in the night and on weekends as he choreographed his first full-length production. 

Performing opposite Nureyev, Ruanne went on to dance the demanding title role at every performance during its opening 3.5-week run at the London Coliseum: an incredible feat! The reason for this? “Many changes were made during that first season”, she said, “which is why there were no alternate casts for the principal roles – and changes were usually made at the half-hour call before we went on!” 

“That was a shattering experience” she said a year later, but “there was no time to forget what went wrong the night before – the opportunity for development was fantastic.”

Watch a video of her rehearsing the role with Nureyev, in 1979:

Rudolf Nureyev and Patricia Ruanne rehearsing #ENBRomeo at our studios back in 1979. See this blazing ballet at @southbankcentre 1 – 5 Aug. pic.twitter.com/k3V70ePD2D

— English National Ballet (@ENBallet) July 12, 2017

An expressive and versatile dancer

During Ruanne’s time with ENB, she danced many roles, including Aurora in Nureyev’s The Sleeping Beauty, Kitri in Don Quixote, Odette/Odile in Swan Lake, La Syphide, Giselle, as well as the Siren in Barry Moreland’s Prodigal Song (in Ragtime) (set to music by Scott Joplin), the title role in Ronald Hynd’s Rosalinda and The Fairy’s Kiss, and more. She also performed around the world, dancing in Europe, Australia, Hong Kong, the United States (including Hawaii), and in our 1979 performances in China. 

Jane Haworth was a member of the Company at the same time as Patricia. She described her as “one of the most divine, intelligent, artists. I feel so lucky to have been able to watch so many of her shows whilst in the corps de ballet, and be inspired whilst sharing the stage.”

In the latter stages of her career, Ruanne was nominated for an Olivier Award for Outstanding Achievement in Dance for her performances as Tatiana in John Cranko’s Onegin. Haworth remembers: “I used to watch Pat from the wings as Tatiana in Onegin, particularly in the last pas de deux in Act 3. I was always reduced to tears by her grief at the end. Such incredible emotional performances.”

While at London Festival Ballet, she also met her second husband, Frederic Jahn: “We were learning Ronald Hynd’s Nutcracker. I was Louise (the one that does Sugar Plum, in that production) and Ric, who had just joined the company, was King Rat. We were at that creative stage in rehearsals when Ronnie would say, ‘Right, take Ric’s hand’ – then he’d get sidetracked. We held hands for hours while Ronnie worked with other dancers!”

Choreographer Ronald Hynd remembers:”Elegance, beauty, sophistication, intelligence, musicality and a fine technique were the wonderful qualities which made Pat an outstanding ballerina with a vast and varied repertoire. My good fortune was to cast her in many of my ballets: creating the grand Lady in Red in The Sanguine Fan.  She was a witty and sparkling Rosalinda, a perfect Louise in my Nutcracker and a gloriously languid Summer in The Seasons. Pat was always a joy and an inspiration to collaborate with, as both a dancer and a dear friend. My sincere condolences to Ric for his sad loss. With love and gratitude for this supreme artist.”

Coaching the new generation

After retiring from the stage, Ruanne worked as ballet mistress, repetitrice and coach – including for the Paris Opera Ballet (1986-96), and staging Nureyev’s Romeo & Juliet and other productions around the world.

“With coaching, all you can do is to help understanding. If the physical element has not yet totally kicked in, that’s not so important, as long as the mind understands what’s needed, because it may be that in two years’ time the physical part will happen automatically, as long as the dancer understands how it must be, what it is they should be searching for in the role.”

Ruanne returned to ENB to coach our dancers, helping to keep Nureyev’s production as powerful and fresh as its premiere.

“Having Juliet created for me was a gem”, she said. “That feather in your cap matters a lot. I could dance that role for 20 years and still find new things in it”. 

Watch an interview with Ruanne, from 2010 (with her husband Frederic Jahn, who was the original Tybalt):

Our condolences go out to Frederic, their family and friends, to all those who learnt from her ballet knowledge and wisdom, and to everyone who was moved by her performances.

More

• Patricia Ruanne’s obituary in The Guardian, The Times, The Daily Telegraph and Gramilano
• Video interview with Teatro Dell’Opera Di Roma
• In-depth interview with the Pew Center for Arts & Heritage (pdf)
• 1978 interview with New York Times