More Defining Moments

In last month's column, I talked about the defining moments of a career. Since the topic relates to everyone's career, I decided to continue exploring its impact on three dance alumni: Amy Hall (B.F.A.'99), Darrell Moultrie (B.F.A.'00), and Gelan Lambert (B.F.A.'99).

I first met this threesome last year, in the Career Development Seminar series held each February. The discussion about dancing on Broadway and subsequent Q&A was a major highlight of our seminar week. Although I'm not a dancer, their presentation was delivered in such passionate tones, I felt even more inspired to tackle my own life with greater vigor. The session resonated with everyone in the room. I knew that I needed to follow up with them at some future date.

During the past month, each of us exchanged phone calls and e-mails about a particularly memorable moment that they credit for helping shape their careers. Amy Hall's first moment occurred as a student at Juilliard. "[Ballet teacher] Alexandra Wells told me to 'never stop packing my suitcase'—meaning, learn and store new information to use for future reference." The suitcase analogy helped Amy to organize her future learning experiences in such a way that they could easily be called upon in emergencies. When Amy first began coaching with the legendary Broadway veteran Gwen Verdon, who was Bob Fosse's wife, she was faced with a particularly difficult lift. "I remember letting too many thoughts cloud my mind, which only complicated matters. In rehearsal, your mind is often running a mile a minute. You want to do a good job. You want to impress the choreographer." Amy went on to describe Verdon as an extremely understanding and patient person. Verdon taught her how to slow down and work through a difficult problem. "Ms. Verdon very clearly and simply told me what to do. She then took my partner and effortlessly executed the lift, herself!" The approach, more than the actual solution, was what helped Amy. Today she approaches all her work with this same patience and understanding. "As I continue to perform and choreograph, it's Ms. Verdon's heartfelt passion and appreciation for her craft that I will always remember and hope to emulate."

Forsaking security to pursue one's artistic quest takes enormous courage.

Darrell Moultrie's moment came as a powerful affirmation. There is nothing quite like the endorsement of being asked to participate, compose, perform, or choreograph alongside your former teacher. Darrell remembers vividly a phone call he received while performing in West Side Story at La Scala Opera House in Milan, Italy. "Towards the end of the run I checked my cell phone to see that I had a message from America. It was the Juilliard Dance Division director, the late Benjamin Harkarvy, telling me that he wanted to commission one of my ballets for the annual spring concert, which was to be performed on the same program with works by well-known choreographers Paul Taylor and Igal Perry. The idea that Mr. Harkarvy had such respect for my work and wanted me to share the program with these amazing dance makers at the age of 23 was simply breathtaking." The affirmation boosted Darrell's confidence in his artistic development. "It takes a lot of courage for any artistic director to open the door for new talent. Harkarvy did that for me. As that door continues to open, I will always be grateful for [his] initial push on that knob."

Gelan shared two moments—the first of which served as the foundation for the second. In a performance at a Jacob's Pillow tribute to legendary artist Katherine Dunham, he was fortunate enough to perform a solo choreographed by Reginald Yates titled Trees. The moment was important, he said, "because I was dancing in honor of a living legend, Katherine Dunham, who paved the way for many artists of color to achieve and succeed. She gave us the license to be proud of who we are—especially as a Haitian, because she took the time and effort to do anthropological work on Haiti's cultural art form of dance. Furthermore, she helped institutionalize Afro-Caribbean dance in the world. So, she made history. Did I know all this before the actual performance? No. It was only enhanced through my being at The Pillow … Since then, my life has been enriched by my risk-taking and daring to be myself."

As events unfolded, this experience ended up becoming a springboard for an even more propitious moment: Gelan's decision to resign from the Martha Graham Dance Company in pursuit of his own vision. Financial issues, artistic fulfillment, and personal needs all became engaged in this painful decision; "… working with the Graham Company reinforced those urges of mine, in wanting to know more. By the same token, I felt that the work didn't do enough to speak to my needs as a man, and as a person of Haitian-African ancestry. So this is my bearing now, to find out more about this environment of ours. Now the challenge is to make my work matter and effect positive change, that is both tangible and intangible."

Leaving an established and prestigious organization to pursue one's artistic quest takes enormous courage—especially in an environment where it is nearly impossible to sustain oneself exclusively on one's art. Gelan's earlier experience at Jacob's Pillow gave him the courage to take those risks and put his vision into action. He eventually grew to realize that this would not happen in the confines of another organization.

If you care to hear Amy, Darrell, and Gelan speak in person about the dancer's life, join us for the Career Seminar on dance on February 10 at 6 p.m. in the 11th-floor lounge in the Rose Building. All faculty, students, and alumni are welcome.

Derek Mithaug, director of career development, is a Juilliard faculty member and alumnus.