Skylar Brandt is one of the principal dancers that Alonzo King worked with to create Single Eye for American Ballet Theatre in 2022. Set to a stirring piano score by Jason Moran, Single Eye is a subtle entreaty for peace and natural harmony during trying times. We interviewed Skylar ahead of the ballet’s encore performances in New York, October 27–29 at the David H. Koch Theater. Learn what she discovered about herself while rehearsing Single Eye, what surprised her about Alonzo, and what she hopes to continue exploring in her future work as an artist.
Interview by Erin McKay
What did you learn from working with Alonzo King?
I couldn’t possibly go into all of the lessons that I learned from working with Alonzo, but one of my biggest takeaways was understanding (and accepting) that imperfection is beautiful. Struggle is human. And audience members who are able to witness those palpable themes onstage may see their own journeys represented, giving them an even more profound connection to the artwork being performed. This is what Alonzo taught me.
How does Single Eye challenge you? How have you grown throughout the process?
It is still a challenging process, but I am learning how to let go. Alonzo’s aesthetic requires a certain daring trust in order for the body to abandon control and be big. As a ballet dancer who performs much of the existing classical repertoire, I am accustomed to holding myself together and making calculated movements with my body. In Single Eye, the opposite must be true. I need to consume space as if I am ten times my size and allow the movement to come from the inside out. Nothing is “put on,” nor is it superficial, and therefore, each rehearsal and performance is different. I believe this is what makes Alonzo’s work so authentic.
Was there anything that surprised you during the rehearsals for Single Eye, or anything surprising about Alonzo himself?
I was surprised by Alonzo’s continuous stream of wisdom. His impeccable choice of words took me aback in an amusing way, so I often found myself giggling and smiling at every revelatory nugget he had to impart. Everything he says is intentional. Everything he communicates is profound. He doesn’t waste his breath or the artists’ time. Alonzo is a poet.
What is your favorite moment or section in Alonzo King’s Single Eye?
The Epilogue Pas de Deux holds a special place in my heart. The marriage between the music and choreography is beautiful and expressive, and I enjoy becoming one with my partner. This particular section ends the ballet, so it feels like a moment of peace and resolve.
What do you hope to bring to Single Eye during the upcoming performances at Lincoln Center?
I want to bring a new level of maturity and understanding of the piece to my upcoming performances. I know I have experienced change in the year since I last performed Alonzo’s work, so I look forward to bringing a new and more nuanced interpretation to it with a newfound level of comfort.
Were there certain approaches in Alonzo’s process that you would like to incorporate into your future work in rehearsals or future performances?
I would definitely like to continue exploring the humanity in my work. It is one of the most crucial qualities in dance (and in art in general), but I sometimes neglect it in search of technical proficiency. I want to keep discovering the beauty in my imperfections.
Did the process of creating Single Eye highlight anything about yourself that you weren’t aware of before?
At times, I have felt intimidated by contemporary works simply because I don’t feel that I have the physical facility usually desired for the vocabulary of contemporary movement. This may sound hard to believe since I am a professional dancer, but I am not a person who is particularly flexible or creates aesthetically pleasing lines with ease. But after working with Alonzo on Single Eye, I came to realize that there are ways around what I believe to be physical limitations. As long as the interpretation of choreography is genuine, it works. And that was a very liberating lesson to have learned.
Banner Photography: American Ballet Theatre | Skylar Brandt and Cory Stearns in Single Eye | © Marty Sohl, courtesy American Ballet Theatre
SINGLE EYE SHOWS
You can see Alonzo King’s Single Eye, a contemplative and captivating commission for American Ballet Theatre, from October 27–29 at the David H. Koch Theater in New York City. Single Eye is a subtle entreaty for peace and natural harmony during trying times. This visually stunning and surprising ballet is set to music by jazz artist and composer Jason Moran.
“If thine eye be single, thy whole body shall be full of light.” —Matthew 6.22
Photography: American Ballet Theatre | Calvin Royal III in Alonzo King’s Single Eye | © Marty Sohl, courtesy of American Ballet Theatre
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