Munich is home to many writers who foster a special relationship with their city. Our editor wants to find out how Munich shapes the stories they tell. Actress and author Lea Ruckpaul takes us to the traditional Café Ruffini, where she talks about balancing writing and acting.
Before discussing her work, Lea Ruckpaul introduces her landlady, Esther, who recommended Café Ruffini, where we are now sitting, enjoying cappuccinos. "I associate this place with Esther because it’s so nice to chat with her here. Her passionate work on the world impresses me deeply."
And that fits perfectly with Café Ruffini: founded by a colourful group of students and activists, it was a hub for left-wing thinkers in the 1970s.
Lea Ruckpaul is also engaged with the world – through her art. Since 2023, she has been part of the ensemble at the Residenztheater: the Bavarian State Theatre’s main venue, affectionately known as “the Resi” among locals. In 2024, Lea published her debut novel, Bye Bye Lolita, a literary response to Nabokov's classic – but from Lolita's point of view.
The idea grew from her theatre work, where she often played historical female characters who take centre stage, yet are forbidden to speak. "People often just talk about them,” she says. “Then I stand on stage, but have to keep my mouth shut. I've always tried to liberate these characters." In Lea’s novel, Dolores Hayes –Lolita’s real name – is an adult. The first twist: she doesn’t die young, as in the original, but lives on. Now, as a woman, she reflects on what Humbert Humbert did to her: acts that have been romanticised for decades in the world literature canon.
“We must tell a story until it is conquered”, she says, highlighting the responsibility of art and culture to address important issues.
To free this character, Lea had to find her own language. While Nabokov describes Dolores' body poetically, Lea chooses harsh, unflinching words. "I tried to approach a language about violence. Nabokov didn’t give Dolores any depth, so I did the opposite." To achieve this, she kept a copy of Lolita on her desk next to her own manuscript for months.
“We must tell a story until it is conquered”, she says, highlighting the responsibility of art and culture to address important issues. "That can be funny and easy, but also unpleasant and painful. Art should address social pain. It's the same in theatre, where I deal with an issue together with the audience."
For her powerful portrayal of a hard-nosed criminal defence lawyer who upholds the legal system until she herself is treated unjustly, Lea received the prestigious Therese Giehse Theatre Prize, awarded as part of the German Acting Prize. This play, Prima Facie, is an entirely solo performance – all alone, which is an extremely demanding challenge. When asked what she needs to play this role, Lea answers: “Courage. There is no one else on stage for me to play off. The only option is to keep going. I notice this especially when I am not feeling well.”
Speaking of the stage: How does she perceive the Munich audience? After all, Lea has already performed in many German cities. With a smile, she says: “Curious and affectionate. People usually seem to be very open and eager to see what's on offer." Especially with Prima Facie, which was adapted for theatre in 2019, she enjoys that the audience can be surprised and does not know what happens next.
We leave Café Ruffini and stroll along Nymphenburger Kanal (canal) towards Schlosspark (palace gardens). A gentle drizzle hangs in the air, so fine you barely notice the droplets on your jacket, yet feel the cool moisture on your cheeks. The canal is lined with trees, and the view toward the palace changes with each season. Today, on one of the first crisp autumn days, nature seems to be retreating quietly and almost secretly. The author often walks her dog Iggy in the Schlosspark. “I prefer the back part, it's so unexpectedly wild,” Lea explains.
"As an actress, you're constantly relocating, but I've finally settled down here”, Lea adds. When I am out cycling, I often think: How beautiful.”
Her first visit to the Isar River also left her thrilled. “A real holiday river!” she laughs. In fact, the 38-year-old often feels like she's on holiday in Munich, even while working hard. "As an actress, you're constantly relocating, but I've finally settled down here”, Lea adds. When I am out cycling, I often think: How beautiful.” She also loves the people – not only her friendly landlady, but also her neighbour, whose awning was accidentally torn off by her moving van. He took it in her stride, she notes. Lea reflects that friendliness is perhaps the best welcome gift in a new neighbourhood.
As we say goodbye, I ask the artist where she has been spending more time lately: on stage or at her desk? "I hit a hurdle with my next novel, but now, I can continue writing. I can usually separate writing and acting quite well, but with so much text to learn at the moment, it's hard to work on my own material at the same time. You can easily get lost in other people’s words.”
Until her next novel is published, Lea Ruckpaul can be seen as Tessa Ensler in Prima Facie or Juliet Capulet in Romeo & Juliet. Two different female characters who have one thing in common: living in a patriarchal structure. Just like the actress herself, who performs freely with courage and empathy – and then writes just as freely.
