Elisa Monte performed with: Gaku Dance (1971) Lar Lubovitch Company (1975), Martha Graham Dance Company (1976-1985)
In 1979, Monte and fellow Graham dancer, David Brown, starred in her first choreographic work, Treading; created during a Graham workshop for the company. As the piece was performed around NYC, critics and audiences alike marveled at the new choreographer's work. Monte was praised for tuning in to the sensuousness of the music” to create an effect “as lulling at the music.” Rooted in sensuality and controlled, sustained energy, Monte's work is notable for its expansive range of movement; hers is a diverse movement vocabulary that refuses stylistic conformity. Monte often collaborates with artists in other disciplines, examples being: composers Glenn Branca, Richard Peaslee, Barbara Kolb, David Van Tieghem. One reviewer wrote, “… Monte’s choreography is a significant addition to post-modernist dance, as effective as it is unusual.” This not only led to the formation of her company, but also established Monte as an important innovator and contributor to contemporary dance. I was the first stage manager for this company from 1982-1986 working along with lighting designer Craig Miller. Here is a list of some of the works created during this period. Treading (1979)Pell Mell (1981)Anima (1982)Pigs and Fishes (1982)Lifetime (1983Indoors (1984)Set in Stone (1984)VII for VIII (1985)White Dragon (1985)Dreamtime (1986 )Audentity (1987). We toured in the U.S. and Internationally: Berlin/Munich/Frankfort/ Germany, Zurich Switzerland, Aarhus Denmark, Italian Tour
Stockholm, Paris / Montpelier France,Copenhagen Holland,Far East Tour( Taipei/Taichung/Taiwan) in Japan Tokyo/Yokohama/Kyoto, Carthage/Kairouan/Sousse, Monastir Tunsia.
Elisa had a taste for exotic locales hence we had many exciting touring experience. It was a wonderful way to get a broad world experience, because you had to interface with the stagehands, administrations, and audiences from different culture. One highlight I remember was our visit to the ancient city of Carthage. It was an ancient site with very little equipment. However there wee two huge movie lights left over from another show, so I had them criss crossed in the air far above the stage, making a perfect frame for this event. It was a sure thing that the stage hands were not used to taking orders from a woman, so they treated me as a goddess. Tuinsia was a very unusual experience: if you were out to eat in the outdoor casbah among the camels, cats and humans, I learned that, my driver always surreptitiously tracted us and would magically appear when we were ready to leave. Often on the road, you would see pedestrian selling wares hiding behind the shade of a single telephone pole.
In another city, having lunch in our hotel with a colleague, a technician from the theater came and said he didn't like me very much. I didn't understand why until I went to his outdoor platform theater which had folding chairs for the audience and but no chairs in the dressing rooms. There were only a few lights and a couple of resistance dimmers. A small child was my helper cleaning out the cave like dressing rooms with a makeshift broom. Certainly, none of this was in our company's technical addendum. No wonder this stranger didn't like me. There were no women in the audience and a one man crew. Last look leaving Tunisia in the airport I was once again surprised to see so many cats.
When Elisa was ready to perform, all the other hats that she carried artistic director, choreographer were put on hold. I always admired that economy. This was especially helpful when David Brown, her then husband, had good ideas too late too late to implement after a technical rehearsal had been completed. Therefore, I didn't have to pay attention to his request.