Patricia Ruel, photo by Laurence Labat

Patricia Ruel, Set Designer

Pacific Opera Victoria
Set Designer, The Magic Flute

February, 2017

Over the past 15 years, set and props designer Patricia Ruel has contributed to the success of a myriad of stage and television productions both in Quebec and abroad.

In 2004, she created the props for the Cirque du Soleil show KÀ in Las Vegas, directed by Robert Lepage, with whom she subsequently worked on the operas 1984, presented in London in 2005, and The Rake's Progress, produced in Brussels in 2007.

Patricia continued her collaboration with Cirque du Soleil under Dominic Champagne's direction in The Beatles LOVE for which she designed the props; Wintuk (set and props, 2007); Viva Elvis! (props, 2009); Banana Shpeel (set and props, 2010); Amaluna (props, 2012); Luzia (Creative Director, 2016) and the new Puerta Vallarta Theme Park (Creative Director, 2016).

In 2015, Patricia created the set of Cirque Éloize's new production, Monaco. She also designed the props for Reflections in Blue, a show presented as part of the opening ceremonies of the FINA World Aquatic Championships in 2005, and for the 2007 XLI Super Bowl pre-game show.

In Montreal, she has designed props and sets for nearly fifty theatrical productions with many renowned directors, including Fernand Rainville, Serge Postigo, Frédéric Blanchette and Maxime Denommé. Other achievements include many productions for Just for Laughs.

For television, she worked as artistic director for the Canadian production of Dragons' Den, and for three year-end specials, Bye Bye 2010, 2011 and 2013, for which she received a Gémeau award on each occasion. .

Since 2012, Patricia has been involved in numerous large-scale projects in the United States (the Fun performance at the Grammy Awards in 2013 by Moment Factory; The Nutcracker with the Nevada Ballet); in Chile and Peru (Circo Jumbo in 2013-2014), and in Quebec (Foresta Lumina by Moment Factory in 2014-2015).

In 2014, Patricia undertook the set design for CFPL (Centre Franšais de Promotion Lyrique)'s production of Les Caprices de Marianne, under Oriol Tomas'direction. The show was created at L'Opéra de Reims (France) before touring in fifteen opera houses throughout France. Les Caprices de Marianne received the Claude-Rostand Critics Award in 2015.

Patricia Ruel graduated in Set Design from Collège Lionel-Groulx in 1998.

Nevada Ballet Theater's 2013 reimagination of The Nutcracker is the most visually beautiful production ever staged in Reynolds Hall ... The absolute standouts are Patricia Ruel's scenic and property designs and Canfield's choreography. As the curtain is drawn, the life-sized, four-level Victorian dollhouse is an astounding site to behold ... gorgeous ... whimsical.
Don Chareunsy , Las Vegas Sun, review of Nevada Ballet Theater's The Nutcracker, 2013.

What impressed me most of all about Luzia was actually the design: the set, costumes and lighting provided a strong unifying force to the show (both thematically and visually). ...offering ... a rich visual language animated with animals, rain, movement and flowers ... Luzia was an absolute pleasure to watch – not just for the high-octane tricks but as a spectacular and cohesive theatrical experience that was successful on every level.
Rebecca Galloway, Montreal Gazette, review of Cirque du Soleil's Luzia, 2016.

Patricia Ruel a imaginé un décor unique d'une étrange beauté et, puisque nous sommes à Naples, La Galerie Umberto Ier est choisie avec justesse pour être le lieu où se déroulera l'action... Mais ce qui fait l'originalité de ce décor est que tout en respectant la configuration de cette Galerie, elle est présentée dans une perspective se rétrécissant vers le haut, vers la verrière, menant à une élévation de la pensée et des sentiments. ... C'est charmant, minimaliste, ingénieux et traité avec beaucoup de goût.
[Patricia Ruel has imagined a unique setting of a strange beauty and, since we are in Naples, the Umberto I Gallery is an apt choice as the place where the action will unfold ... But what makes this decor so original is that while respecting the configuration of the Gallery, it is presented in a perspective narrowing upward, towards the canopy, leading to an elevation of thought and feelings ... It is charming, minimalist, ingenious and treated with great taste.]
Jocelyne De Nicola, GBOpera Magazine, review of Les Caprices de Marianne, Opéra de Marseille, 2015.


December, 2016