Interview: Theatre Life with Vernard J. Gilmore

There is almost nothing consistent anymore in life with the current state of affairs but when Alvin Ailey American Dance Theater comes to town, things almost feel normal again. The company will be performing in the Kennedy Center Opera House starting tonight through February 6th with four different programs to choose from.

Today's subject Vernard J. Gilmore has been living his theatre life as a principal dancer with Alvin Ailey for 25 years now which makes him the company's longest running dancer.

Think about that for a minute. A quarter of a century with the same company. These days that is a true accomplishment. Read on to see how Vernard keeps in shape and safe while in rehearsal and production.

Vernard was featured as the lead in Donald Byrd's powerful Greenwood and Alvin Ailey's wistful solo Reflections in D.

He is also an active choreographer for the Ailey Dancers Resource Fund, an annual benefit performance that raises money to assist current and former Ailey dancers with career transitions, choreographic projects, and loans for injury-related emergencies.

Vernard has been highlighted by CBS Chicago as "Someone You Should Know," and performed on Chicago's WGN as well. Vernard also performed at the 2010 White House tribute to Judith Jamison. In 2017, he was honored in the annual OUT 100 LGBT icons issue.

An excerpt of Mr. Gilmore's work La Muette was performed in 2017 as part of the "Celebrating the Men of Ailey" program.

Vernard was very fortunate because the great Judith Jamieson hired him for Alvin Ailey American Dance Theater and he never looked back. An extremely talented dancer, Vernard J. Gilmore is living his theatre life to the fullest.

Grab yourself some tickets for Alvin Ailey American Dance Theater if you can. With works by Mr. Ailey, Robert Battle and more, your experience will is sure to be a true "Revelation".

Were you interested in becoming a dancer as a child?

I've been dancing since I was very young. My mom used to put us in the back-to-school parades in back in Chicago. I've always been around dance, but I didn't actually get serious about training until high school.

Where did you go to school for dance and who did you train under?

I trained at Currie High School in Chicago, and I also trained professionally with Joseph Holmes Chicago Dance Theater in Chicago as well.

I trained under Martina Levy, Harriet Ross, and Rory Foster, when I went to college.

How did you come to Alvin Ailey American Dance Theater?

I went to the audition they had in Chicago for the school. I received a scholarship. I didn't know if I was going to be able to come and then someone found a little corner of their apartment for me to stay in, which was really cool. I spent my first summer with Ailey in early 1994. I joined the junior company Ailey II in 1995. I was there for two years and then joined the main company in 1997.

It's now been 25 years with the main company. I was seventeen or eighteen when I started.

For those not familiar of the dancer's life, can you please take us through a typical day for an Alvin Ailey dancer during your season?

It's two-fold. If we're just preparing for the season, we're in our rehearsal mode and your day is going to start with class starts at ten thirty. But of course, I have to get up in the morning and do body conditioning, and strength training exercises. I do a lot of conditioning before I actually start work. Then there's class ten thirty to twelve, rehearsals noon to three, an hour lunch, and then more rehearsal from four to seven.

When you came to Alvin Ailey, Judith Jamison was their Artistic Director. Can you please talk a little bit about working under her versus Robert Battle who currently runs the company?

They're very different in their approach. Judy was old school and was really about having her eye on you every moment and I appreciated that because she taught me how to be a professional and how to be an Ailey dancer. She taught me what my responsibility was going to be to the company if I was going to be around for any length of time to take that very seriously.

Robert is a little more of an observant I think when it comes to work. Because I am a company member, I think he approaches me differently and that he knows I care about the company and I care about how we present ourselves and how I present myself. But I've definitely learned from him just like I did from Judy.

Are you required to wear masks during rehearsal? If yes, how much harder does it make your breath support?

The answer to the question is yes, we are required to wear masks in rehearsals all around the building and of course be fully vaccinated including a booster. As far as breathing, it's not easy, especially if you're doing something that's particularly really difficult.

There is a high energy section in Alvin Ailey's Blues Suite which is high energy for three to four minutes. That is the only time where I feel I really can't get enough oxygen but you just take a moment and move on.

For a young dancer just starting out, what piece of advice can you give as they embark on their own journey in the professional dance world?

Make sure you are ready to be committed with having tenacity to understand your responsibility, and always do your job with excellence. I think when you search for perfection, you gain excellence. Always push towards your excellence.

Special thanks to Kennedy Center's grand je·té Press Representative, Ballet/Dance and Education Brittany Laeger for her assistance in coordinating this interview.

Theatre Life logo designed by Kevin Laughon.

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