National Ballet Company

Wings View Olympia Theatre 1962 Choreography Alan Beale. L to R : Geraldine Morris, Ben Stevenson, Phil Cahill, Gordon Coster, Gay Scully, Alain Dubreuil

“The prestige of the positions that the dancers held after the break-up of the company is testament to Ryan’s fine teaching. The evidence would suggest that the National Ballet school produced Ireland’s finest dancers of their generation. It would not be until  the closure of another school and company, The National School of Dance and Dublin City Ballet in 1985 that a comparable generation of Irish dance artists would emerge.

Victoria O’Brien, A History of Irish Ballet from 1927 to 1963

Olympia Theatre Dublin 1962 Les Sylphides left to right Deirdre O’Donohoe, Ben Stevenson, Joan Wilson and Ester O’Brolchain © Jasper D O’Callaghan

The ballet school was registered as the National Ballet Company with artistic Directors Patricia Ryan and Christopher West.

Directors Owen Coyle, Merial Evans, John Lovat Dolan, Donagh Mac Donagh, Brendan Neilan, Dr A.J.Potter and Christopher West with honorary Patrons Prince d’Ardia Caracciolo, The Hon, Mrs Desmond Guinness, the Marchioness of Headford, Lady longford, Michael Mac LiammoirSir Laurence Olivier, Leo Macabe, Ria Mooney, Mairin Bean Ui Riain, Louis Elliman, Michael Scott, Brendan Smith, Dr. Thomas Walsh.

Dancers Equity Ireland

An annual season of one week’s ballet was presented with its corps de ballet dancers to the music of the Radio Eireann Light Orchestra.

Principal parts were given to guest dancers: Jelko Yuresha and Belinda Wright from The English National Ballet, Annette Page and Ronald Hynd from the Royal Ballet London, Gerard Ohn and Madeleine Lafon  Premieres Etoiles of the Paris Opera Ballet, Marilyn Jones and Garth Welch from Marquis de Cuevas Ballet and Company Monte Carlo and Robert Olup.

In 1961 for the opening for Irelands national television station R.T.E., Dublin the national ballet danced under choreographer Norman Maen.

1961 Irish classical dancers were asked to perform at a high standard for television, Dublin Grand Opera Society’s, Wexford Festival Opera, Dublin Stage, Gaiety Theatre and the Abbey Theatre. They thought they could get Irish dancers for nothing and did not pay them according to their professionalism. I negotiated talks with the then head of Irish Trade Union Irish Actors Equity Dermot Doolin to open a section for Irish dancers. This was agreed and dancers from this point were supported and represented by the Arts Council Ireland and the National Ballet turned professional.
— Patricia Collins (Formerly Ryan)

Choreographies were commissioned for the Dublin Spring and Winter Opera seasons at the Gaiety Theatre and for the Wexford Opera Festival.

Patricia directed movement for actors in the Royal Theatre, the Pike Theatre, the Abbey Lecture Hall and choreographed in the original production of James McKenna’s rock musical play ‘The Scatterin’ to composer A.J. Potters score and Fergus Linehans play Glory Be at the Olympia Theatre. The Song of Anvill Brian MacMahon 1960 the Abbey Queens Theatre.

Rehearsal dance studio with left Domy Reitor, centre Patricia Ryan, right Deirdre O’Donaghue, background Tony Rudenko Morehampton Road, Donnybrook 1960’s © Edward Quinn

Giselle 1963 Robert Olup © Jasper D. O’Callaghan

I remember the enthusiasm to build ballet in Ireland. Patricia Ryan was very important in my life. I was guest dancer in the newly formed company and later when Belinda and I were with the Royal Ballet London we danced Giselle in Dublin in 1963 . There was enthusiasm, prestige and hope for international impact.

- JELKO YURESHA 2018

1963 -

The Arts Council Dublin announced it could no longer finance two ballet companies and sought to amalgamate ‘The National Ballet’ in Dublin and the ‘Irish Theatre Ballet’ in Cork. Patricia Ryan agreed, believing it was the only way of securing a future for the company she had built.

The merged companies were given the name ‘The Irish National Ballet’, but after one ballet season, Patricia Ryan resigned, citing insurmountable financial pressures and artistic differences.