My introduction to the world of LaVerne Reed was serendipitous. As a new mother to my one-year-old daughter, LeeAnét, and a returning student at Howard University, I was captivated by the LaVerne Reed Dancers. I vividly remember watching their performance in Washington, DC – their poise and boundless energy as they moved across the stage left a lasting impression. Inspired, I decided to enroll in a beginner dance class, a decision that would connect my family and me to an extraordinary artistic legacy.
Stepping into the basement dance studio for my first class, I found myself among a diverse group of aspiring dancers. Amidst the leotards and leg warmers, LaVerne Reed entered, her presence immediately commanding attention. Her warm-up was more than just exercise; it was an immersive experience. She possessed an incredible eye for detail, noting every missed step and imperfect line. During stretches, she approached me, personally demonstrating the correct form, offering a smile and encouraging nod of direct eye contact when I finally grasped it. Upon learning about my young daughter, she enthusiastically invited her to join her dance school in Silver Spring, Maryland, as soon as she turned two.
LaVerne Reed. Photo by Tom Radcliffe, courtesy of the family of LaVerne Reed and Kathy Merrick
LaVerne Reed, a visionary dancer, choreographer, playwright, director, and producer, photographed by Tom Radcliffe. Image courtesy of the families of LaVerne Reed and Kathy Merrick.
This initial encounter blossomed into a rich artistic collaboration. Under LaVerne Reed’s direction, my daughter and I made our professional debut in Santa and Mother Goose Rock, a musical written and choreographed by Reed herself, which aired on WHMM-TV. LaVerne Reed embodies the essence of a multi-hyphenate artist. A true artistic powerhouse, she reimagined classic narratives into spectacular musicals and inspired countless individuals in the District of Columbia and beyond. Her influence extends far beyond dance, touching all aspects of theatrical production and arts education.
LaVerne Reed’s artistic journey began in childhood dance classes under the tutelage of her godmother, Maria Olivia “Libby” Hill Spencer. Spencer was no ordinary instructor; she was a celebrated choreographer and dancer who had trained with the legendary Nicholas Brothers and served as the dance captain at the iconic Apollo Theatre from 1940 to 1948. This early mentorship laid a solid foundation for Reed’s remarkable career.
Building upon this foundation, Reed further honed her skills at prestigious institutions such as the Pennsylvania School of Ballet, the Author Hall Afro-American Dance Company, and Juilliard. While majoring in Drama at Howard University (which lacked a dance major at the time), her foray into drama proved divinely inspired, enriching her talent for creating original musical theatre productions.
As a performer, Reed graced the stage with renowned companies including the DC Black Repertory Company, Joyce Trister Dance Company, and the Louis Johnson Dance Theatre. Her choreographic talents were sought after by the Washington Ballet and Capitol Ballet, and she also appeared in commercials and on television, showcasing her versatility and broad appeal.
A collage of images featuring LaVerne Reed and members of the LaVerne Reed Dancers, including Kathy Merrick, Linda Crawford, Paulette Johnson, Tammy Gibson, Judy Leak, Robbin Tasha Ford, Patty Jacobs, and Phyllis Reid. Images provided by the families of LaVerne Reed and Kathy Merrick.
In 1976, Reed established the LaVerne Reed Dancers, a dynamic troupe of 25 dancers that rapidly rose to prominence as the leading Black dance ensemble in DC. They shared the stage with music icons such as Stephanie Mills and Melba Moore, and acting legends Cicely Tyson and Esther Rolle, garnering rave reviews from publications like The Washington Post. Reed’s choreography transcended mere movement; her pieces were narratives, rich with storytelling and thematic depth. The troupe prominently featured Black women, many of whom built successful careers in dance and the arts, including Desiree Davidson, Kathy Merrick, and Joyce Mosso. Male dancers such as Adrian Vincent James and Randy Scott also contributed to the company’s vibrant performances.
Beyond leading her dance company, Reed imparted her knowledge and passion as a faculty member at Howard University and as the resident choreographer for the Department of Fine Arts. She also served as the city-wide dance director and children’s theatre specialist for the DC Department of Recreation, further solidifying her commitment to arts accessibility and education within the community.
Annually, Reed undertook the monumental task of writing, directing, and choreographing large-scale holiday productions for the city. These productions were spectacular showcases of talent, featuring professional artists, students of all ages, and local pre-professional performers. Her original musicals, celebrated for their predominantly Black casts, were visually stunning with elaborate sets, aerial rigging, and casts of up to 100. Broadcasts on WHMM-TV extended the reach of these theatrical experiences, bringing the magic of musical theatre to a wider audience.
LaVerne Reed’s work provided invaluable opportunities for young Black children and adult artists to see themselves reflected in powerful artistic narratives on grand stages. From her own performances alongside Hinton Battle to creating impactful pieces like “We the People” with the LaVerne Reed Dancers, and her beloved holiday musicals such as Santa and Mother Goose Rock, The Chocolate Nutcracker, and Santa and the Superheroes, Reed consistently created works that resonated deeply with her community.
In 2000, Reed brought her renowned production of The Chocolate Nutcracker back to DC, following its national tour. This special performance at the Lincoln Theatre starred R&B sensation Chanté Moore, Broadway talents, and 150 local artists. The Washington Post lauded the production, noting its inclusive message and the audience’s awakened awareness.
LaVerne Reed’s influence is immeasurable and continues to inspire current generations of DC artists who grew up under her mentorship. Her vision and dedication have left an indelible mark on the landscape of performing arts in Washington DC and beyond.
Reflections on a Legacy
Harriett D. Foy, award-winning actor, former student, and stage manager for LaVerne Reed: “LaVerne Reed is the reason I have had a dance career. Her 8 am ballet class at Howard University was foundational to my 30-year artistic journey. She taught us to be triple threats and provided opportunities to develop as artists outside the classroom. Stage managing her Christmas musicals was like grad school – we learned every aspect of creating a new musical. The discipline she instilled has served me well.”
Kathy Merrick, former LaVerne Reed dancer, singer, songwriter, and performer: “LaVerne always encouraged us to surpass our own perceived limitations. She taught us to strive for the seemingly unattainable and instilled in us the values of hard work and discipline. Every time I perform, her teachings are deeply rooted within me.”
Kristen Jackson, Associate Artistic Director and Connectivity Director at Woolly Mammoth Theatre, former flower in Santa and The Mother Goose Rock: “LaVerne Reed introduced me to the performing arts at age two, igniting a lifelong passion. She cultivated a space where young Black artists could see themselves reflected and nurtured both onstage and offstage talent. Her legacy continues to inspire my work at Woolly Mammoth.”
Kelly Chauncey, Artistic Director of Black Rock Center for the Arts, former Tweedle Dee in Santa and the Mother Goose Rock: “LaVerne Reed is a living legend, a selfless visionary who profoundly impacted DMV performing arts. Her artistic discipline and professionalism were inspiring and transformative. I instill her lessons in others and am eternally thankful for her influence.”
LaVerne Reed pictured with dance luminaries Linda Boyd and Alvin Ailey in the mid-1980s. Image courtesy of the families of LaVerne Reed and Kathy Merrick.
Gabrielle Dubose, Arts as Activism teacher at Duke Ellington School of the Arts and DC activist: “LaVerne Reed brought incredible ‘razzle dazzle’ to DC with her Christmas shows. She believed in me and elevated my dance training, which led to my acceptance into SUNY Purchase to study professional dance!”
LaVerne Reed headshot. Photo by Erica Ashley Reed, courtesy of the family of LaVerne Reed and Kathy Merrick.
Headshot of LaVerne Reed, captured by Erica Ashley Reed. Image provided by the families of LaVerne Reed and Kathy Merrick.
LaVerne Reed continues to create and produce original musicals nationwide through LaVerne Reed Productions. Her decades of work and profound impact on the DC arts scene remain in the hearts and minds of all who shared her stage and witnessed her extraordinary vision.
SEE ALSO:
Speak the names, tell the stories (part 1): Shining a light on DC theater history
Speak the names, tell the stories (part 2): Dr. Kelsey E. Collie, pioneer of children’s theater in DC
Speak the names, tell the stories (part 3): The DC Black Repertory Compan
Speak the names, tell the stories (part 4): An ode to Mike Malone
