The November 1959 subject of Dance Journal provided a Carmen de Lavallade double function.
She was celebrated within the Temporary Biographies column (“a month-to-month collection about dancers it’s best to know”), for which de Lavallade was photographed by Zachary Freyman; “Beautiful is the phrase for Carmen!” author Saul Goodman started the profile.
And she or he appeared on the quilt with Glen Tetley of their roles in New York Metropolis Opera’s Carmina Burana, which was reviewed within the subject: “The excessive level was an beautiful solo for Carmen de Lavallade,” Doris Hering wrote of John Butler’s choreography. “And Miss de Lavallade delivered to it that high quality so uniquely hers of technical end clothed within the artlessness of a forest creature.”
As that subject went to print, de Lavallade was already a veteran of Lester Horton’s firm; had danced in a number of Hollywood movies; had debuted on Broadway reverse Alvin Ailey, at Radio Metropolis Music Corridor along with her husband, Geoffrey Holder, and with the Metropolitan Opera; was acting on tv and in Europe in Butler’s choreography; and could possibly be seen reverse Harry Belafonte in her first nondancing position within the movie Odds Towards Tomorrow—and was mom to a toddler.
