Tag: Lisa Iannacito McBride

Friday January 28, 2011 – Went dashing thru the snow (now slush, actually) to the East Side to watch a class at Peridance offered by a choreographer whose work I especially like: Lydia Johnson. Lisa Iannacito McBride of Lydia’s company (above, a studio photo by Kokyat) called the large group of about thirty students to order promptly at 11:30 AM and started to teach them a passage from Lydia’s work entitled DUSK, set to music of Henrych Gorecki. 

I’ve seen Lisa dance many times but she’s also a really fine teacher; looking chic in a deep-purple satiny leotard, Lisa began the phrase and the students immediately picked up the basics. Laura DiOrio and Jessica Sand of Lydia’s company were on hand to help the dancers with tips on how they each execute the phrase. From watching the three girls, I saw how they are each able to achieve their unique shading of a danced expression while always remaining in the context of the basic qualities of movement.

These classes where a phrase is taught are always so interesting to me because as a frustrated shoulda-been dancer, I’m continually amazed by how quickly the dancers in the studio can translate the instructor’s movement into their own bodies. Once Lisa went beyond the initial steps and gestures, I was throughly lost but the young dancers picked it up and ran with it. Within minutes they were working the passage and then the group broke into smaller units and took turns spiffing it up.

Lydia sometimes addressed the dancers, speaking of the imagery that she had in mind when creating a given movement, but she steered clear of saying what the dance was supposed to ‘mean’; her remarks were more in terms of finding the freedom of each dancers’ individual expression than in trying to impose an interpretive boundary. I think this is why her own dancers always look so good: they filter the steps and gestures thru their own bodies and spirits, making individual statements while always maintaining the atmosphere that the music creates.

As the session progressed, the group was broken down still further into four units and each performed the phrase as a canon, starting in different corners of the room. By the end of the class, they were starting to look like a Company.

Lydia’s dancers Eric Vlach and Or Sagi were dancing, and so were two dancers I was familiar with: Justin Lynch and Danielle Schulz. There were other familiar faces but I can’t put names to them. The time sped by and all too soon the studio was emptying as another group of dancers stood waiting for the space. Many of the participants in Lydia’s class were headed to other classes or rehearsals, or to the jobs they hold down to pay the bills since dance jobs are not all that plentiful these days. Still, I find the idea of this life of dancing – of physical work to an artistic end – so fascinating.  

Even if I’d known that one could make a life in dance and even if I’d pursued it, by now I would be retired. But who knows? I might have gone from dancing to having my own dance company. There are certainly plenty of dancers in New York City who would look great performing, and who deserve the opportunity to do it.