National Ballet School
Patricia Ryan
1940’s Patricia’s mother encouraged her to compete in ballroom dancing with the view it would help regain a dancing outlet. Though winning trophies and competitions, it was not the dance form she felt comfortable in.
1949
Patricia and John Ryan leaving theatre. circa 1960
In 1949, newly married to John Ryan they traveled by car through war torn France to the south to stay in Cannes and surroundings. Patricia had an affinity with France and its culture, it was a place she would spend a greater part of her later life.
On the return to Ireland they stopped in Paris, she asked to see the new sensational choreography of Roland Petit’s interpretation of the Ballet Carmen. The performance was an unforgettable experience with new exciting choreography breaking with classical ballet history in erotic, dramatic and sensual dance. It made for an inspiring night at the theatre.
Nadine Legat
With two children and largely self taught at piano she enrolled to study music at the Royal Academy of Music Dublin in the mid 50’ s .
January 1957. A photo of her teacher Madame Nadine Legat on a visit to Dublin appeared in the Irish Times. Patricia went to see her Russian teacher at the Shelbourne Hotel.
Madame Legat was in Dublin in search of a ballet teacher to continue Russian dance methods for The National Ballet School which was owned and run by the O’Brolchain family. Legat fondly calling Patricia ‘Petrushka’ from her training days unexpectedly declared that she thought her ideal to be appointed teacher to the Ballet school with her background in Russian training.
The proposal was daunting, Patricia said “But I am not a teacher!’ Legat persuaded her to try it if only for six weeks telling her
“Don’t teach like me, you will find your own style and way of teaching”
Accepting the position as ballet teacher and on the advice of Legat, Patricia acquired an advanced Teacher’s Certificate from the Association of Russian Ballet Board in London she began teaching.
Developing her own approach she taught with a mix of Russian and Cecchetti style. Students were required to train every school day to strengthen physical ability and achieve athletic dance standard.
Legat collaborated sending student dancers from England such as Jelko Yuresha originally from Zagreb to perform with the National Ballet school. Yuresha became a regular guest and professional dancer in Dublin in later years dancing with his wife international ballerina Belinda Wright.
1957 -
1957 19, Ely place, Dublin. First class. Left to right Patricia Ryan, Joan Wilson, Ester O’Brolchain, Ciara O’Sullivan
Jelko Yuresha in class, National Ballet Parnell Square
Practice class Parnell Square. Foreground Geraldine Morris
“...classes were strengthening, with an emphasis on dance’s qualitative aspects. When I went to the Legat School in Tunbridge Wells for a term in 1959, I was well ahead of my year group (in ballet). Equally, joining the Royal Ballet School in 1963, I went straight into a special class Extra 3, arranged for those thought to be the most talented that year. This was entirely due to Patricia. She had given me confidence and a sound technique and, through her choreography, a real understanding of performance. Coming from Ireland, I never felt at a disadvantage either at the RBS or Legat.”
Practise class. Parnell Square Dublin Joan Wilson and Judith McGilligan
Attending a National Ballet school recital performance in Daag Hall 1958 Irish Poet and writer William Monk Gibbon was impressed with the programme and the standard of dance.
He wrote a letter to the Irish Times in November 1958 appealing to the Arts Council to take note of the rising talent in the Ballet School’s young dancers. He urged that the school needed to be supported and nurtured so as to reduce the risk students would seek training and dance opportunities abroad.
His letter was a prophetic appeal for the survival of the National ballet school in Ireland and a poignant reference in later years.
“Sir,
Your critic raises an issue of importance to all lovers of ballet in this country when he praises (November 11th) the really excellent programme of the National Ballet School and then asks: Quo Vadis? We have now got a school of Ballet, a teacher of Ballet, and a number of young ballet-dancers, demonstrably comparable – put it to the test, sceptic, if you like, by making your way to Dagg Hall - to the London Standard. What is going to happen to them?? Are we merely to become a recruiting-ground for the big cross-Channel companies like Festival? Or is there a chance of keeping our young dancers here and enjoying the rich reward of the balletomane, of watching a striking talent develop and deepen over the years? The problem is a real one. I cannot see Dublin or Cork maintaining as yet permanent a company, even with the aid of the provinces. Provincial Ireland is not yet ballet-conscious. It will take time. But Covent Garden ballet to-day really originated with the Camargo Society, and owes everything to it. I suggest something on similar lines – guaranteeing an audience at fairly frequent intervals for a series of programmes which would include distinguished guest artists might, with the co-operation of the Arts Council, and one of the Dublin Theatre’s, furnish a solution. Or has anyone an alternative? Yours, etc, ”
Judith McGilligan in The Snow Queen 1958
During the early development of the ballet school Patricia began a relationship with artist abstract painter Patrick Collins with whom she had her third child. Patrick Collins recieved international recognition winning the New York Peggy Guggenheim award in 1958. They married in November 1983.
Patrick Collins 1960’s
Patrick Collins Studio 1960’s