Carmen deLavallade

By Gladstone, Valerie | Dance Teacher, April 2008 | Go to article overview
Save to active project

Carmen deLavallade


Gladstone, Valerie, Dance Teacher


The genre-defying performance legend shares her formative influences and creative process.

Few people in the performing arts can match the accomplishments of the supremely elegant Carmen deLavallade. Over her nearly 60-year career, she has starred in ballets, modern-dance works, plays, films and Broadway musicals. She has choreographed and directed dance and opera, and taught and performed at the Yale Repertory Theatre. By setting no limits and fearlessly choosing groundbreaking projects, she has mastered roles in Shakespeare and Lorca, the operas Samson and Delilah and Aida, and dances by Alvin Ailey, John Butler, Agnes de Mille, Glen Tetley, Bill T. Jones and her husband, Geoffrey Holder, among many others. Currently, she is a member of the dance trio Paradigm, with Gus Solomons jr and Dudley Williams.

Born in 1931 and raised in Los Angeles, deLavallade grew up wanting to be an actress, inspired by her cousin Janet Collins, who was the first black ballerina at The Metropolitan Opera. At 16, she won a scholarship to study with modern-dance pioneer Lester Horton. While performing with his company at the 92nd Street Y in New York and at Jacob's Pillow in Massachusetts, she was discovered by stage and film producers and offered roles in movies, including Carmen Jones, and the Broadway musical House of Flowers, where she met Holder. She followed these successes with leads in Agnes de Mille's The Four Marys at American Ballet Theatre and John Butler's Carmina Burana at City Center.

In the late '60s, acclaimed theater director Robert Brustein asked deLavallade to teach at Yale, where she taught Henry Winkler, Sigourney Weaver and Meryl Streep, among others, and starred in such Yale Rep productions as The Tempest and A Midsummer Night's Dream. She went on to perform with jazz masters Benny Goodman at Carnegie Hall and the Bill Evans Trio in Detroit. DeLavallade still takes to the stage today, often performing her one-woman show, Journey, and her children's show, The Enchanted Isle of Yew. This spring, she will be honored with a National Visionary Award in Washington, DC, along with Quincy Jones, Jr., and Eartha Kitt.

Dance Teacher: Who were your earliest inspirations?

Carmen deLavallade: Without question, my cousin Janet. To have someone in your family make it into the Metropolitan Opera Ballet showed me that it could be done. It wasn't just something other people did; it was something I could do. Especially then, when blacks rarely made it into mainstream companies.

I was also greatly inspired by Lester Horton. In his classes, you learned far more than steps and counts-you learned the essence of movement and what it could express. He was so imaginative. He always described what a step or sequence should look like. With him, we learned the ballets of José Limón, Doris Humphrey and Martha Graham, and all of those wonderful choreographers taught me the importance of acting in dance, of putting real feeling into everything you did onstage.

Then, of course, Alvin Ailey. He was so brilliant, so full of life. But I did warn him that after Revelations he might be typecast as a "black choreographer" who had to do certain themes. And I was right. That's what the critics did: stereotyped him. If he didn't do something "black," they admonished him.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited article

Carmen deLavallade
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?