We touch base with 85-year-old dancer Joanna Banks as she journeys across Ireland performing in Philip Connaughton’s revival of TROJANS.
Joanna Banks helped establish Dance Ireland and has devoted her life to the craft of dance.
Raised in Oxford, living with her grandparents through the 1940s and the war years, she began dancing at seven and earned a place with the Royal Ballet as a teenager, performing at the Royal Opera House, Covent Garden, and on global stages with Ballet Rambert and the London Ballet Theatre Company.
She relocated to Ireland to join the National Ballet Company in Cork, later taking the role of Artistic Director at the College of Dance in Dublin. In her seventies she shifted from classical to contemporary forms and has appeared with Irish Modern Dance Theatre, Company Philip Connaughton, and Dead Centre.
Today, at 85, she is performing with Luail – Ireland’s National Dance Company this spring in Philip Connaughton’s revival of TROJANS. Here, we sit down with Joanna to discuss her journey and her passion for dance.
What are your earliest memories of dance?
My first memories of movement come from improvising in my grandparents’ garden in Oxford. I must have been about three or four, with no prior exposure to dance, yet the urge to move was irresistible. I lived with them until after the war when my family moved to suburban London, and a kind local dance teacher granted us the chance to improvise at the end of class with a live pianist—that was tremendous fun. By then I’d never seen a ballet on a theatre stage. My mother took me to Covent Garden when I was far too young to sit through a triple bill, which really wasn’t suited to an eight-year-old. I enjoyed the costumes, though the experience felt somewhat dull. Roughly a year later, a touring production of Swan Lake by the International Ballet came through, and I remember being utterly spellbound—perhaps because I was a touch older.
What does a typical day or week look like for you?
Currently I am immersed in full-time preparation with choreographer Philip Connaughton for Trojans, staged by Luail – Ireland’s National Dance Company. In rehearsal, I rise, do a set of exercises, enjoy a substantial breakfast, then head into the studio where the day is devoted to rehearsals. I return home, cook a sensible meal, sleep, and repeat the cycle the following day. It’s a steady routine, but one I welcome; it represents a discipline I’ve grown accustomed to. When I’m not rehearsing, I eagerly attend art exhibitions and other cultural happenings around the city to recharge my creative energy.
And what is something people outside of the dance world don’t realise about it?
I don’t believe people fully grasp the level of effort behind a dance performance. Many assume a dancer simply steps into the theater and performs, with little appreciation for the extensive preparation and the intensity of rehearsal. This is true across all forms of dance, perhaps because dancers make it appear effortless. Few recognise the sheer physical energy involved in shaping a piece, or the endurance demanded by the process—it’s truly remarkable.
What’s a moment on stage you’ll never forget?
For me, the moment I will always remember is the first time I stood in a theatre, footsteps onto the stage, an experience that altered my life. It occurred during a charity performance with my local dance school; I had my own small solo and a pretty costume. I recall stepping into that shadowy arena, the lights blazing, and feeling as if Alice stepping through the looking-glass—unwilling to return. It felt as though I had discovered my natural home.
Do you feel responsible to pass on your love for dance and help younger generations?
I’ve been extraordinarily fortunate, learning from some of the finest instructors in the world. I’ve had the opportunity to collaborate with a broad range of choreographers and accumulate a wealth of experience over the decades. If I can share even a portion of what I’ve learned with the next generation, I consider it a meaningful contribution.
I don’t expect the younger cadre to idolize me; early on I told Philip I wouldn’t be the diva who cruises into the studio. I feel fortunate to collaborate with younger dancers, and I see us as a team. I enjoy their company and feel I soak up much of their vitality and energy. They’re intrigued by my earlier life as a professional ballet dancer, given that my experiences reach back to very different eras. I hope they recognize the improved working conditions they enjoy today.
If you’d like to witness Joanna and the ensemble in performance, tickets for TROJANS in Galway or Lisburn are available here.
