Horton introduced de Lavallade to an array of dance styles and traditions, which would serve her well as she embarked on her journey in dance. She also studied with Martha Graham as well as acting and vocal training. She was a member of Lester Horton Dance Theater (as was Ailey) before the two moved to New York City to star in a Broadway production, “House of Flowers” in 1954. Two years later, de Lavallade succeeded Collins as prima ballerina at the Metropolitan Opera.
While in New York, de Lavallade would meet her partner in dance, choreography and life Geoffrey Holder, so smitten by de Lavallade during the run of “House of Flowers” that, according to him, he proposed to her three days after they met. Holder would later use his wife as his muse and create works with her in mind including “Come Sunday,” accompanied by African-American spirituals sung by Odetta, and “Three Songs for One.”
Like Collins, de Lavallade struggled with racial discrimination during her career. Most notably, she was set to dance with Glen Tetley, a White dancer, on The Ed Sullivan Show but was denied the performance because interracial dancing on television was not permitted.
Pittsburgh filmmaker M.J. Washington met de Lavallade as a result of research for her 2009 documentary, “Janet Collins: To Dance is to Live.”
“It was vitally important for me to include interviews of those who knew Ms. Collins personally, such as Arthur Mitchell—founder of the Dance Theatre of Harlem, as well as someone such as Philadanco founder, Joan Myers Brown, who was greatly impacted by Ms. Collins,” said Washington.
“Being able to locate and secure an interview with Carmen de Lavallade—a living relative whom I would also classify as dance royalty—this was simply amazing. I was both overjoyed and humbled by the experience,” said Washington.
“I greatly appreciated her willingness to be as helpful as possible in making herself available to be interviewed. Even with my initial phone call to her, explaining what I was trying to do—she also put my in touch with the sister-in-law of Ms. Collins. I was also especially blessed by Ms. De Lavallade’s vote of approval on the outcome of the film. She called me very excited asking how I had managed to locate some of the footage included in the film.”
Staycee Pearl considers de Lavallade a major influence in her own pursuit of dance, leading her to establish her own company, Staycee Pearl dance project. She was likewise moved by her own encounter with de Lavallade.
“Carmen de Lavallade has always been an idol of mine, since my early years as a student in the Ailey School. Her stellar technical prowess and magnetic performance qualities are unmatched,” shared Peal. “As I mature in my craft, she inspires me to keep moving and embracing my body at every stage in life.”
Pearl’s undergraduate studies mirrors de Lavallade in that she was also a member of the Dance Theater of Harlem. “As a fellow at Concord Academy, Summer Stages in 2006, I was honored to receive useful and inspiring critique of my work, ‘Peace Movement.’ She’s always been positively encouraging while keeping it very real. I’m very excited to see her over the next week of events.”
Performances of “As I Remember It” begins at 8 p.m. on Friday, Sept. 12 and Saturday, Sept. 13 at Kelly Strayhorn Theater in East Liberty. Tickets prices are: artist/students-$15, 15206 Resident-$20, gen. admission-$25 and are available at kelly-strayhorn.org. Groups of 10 or more should call for group rates at 412-363-3000 x 318.
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