How did you become part of the CBG dance community?
Several years ago I was looking for ballet classes for seniors, and I saw Lisa Gold's class at the Northfield Senior Center. I took class that summer, and I loved it. But when fall came I had a scheduling conflict. I found CBG Institute for Dance and Health, and I signed up for classes with Lynne Belsky. I’ve been taking ballet class with Lynne ever since, and through CBG even had the opportunity to dance Clara's father in Lisa Gold’s Northshore School of Dance production of The Nutcracker in 2018.
Toby in action in Lynne’s CBG ballet class
What is your previous experience with dance?
Growing up in Baton Rouge, Louisiana in the 1940s-50s boys didn’t dance. At least no one I knew or heard of. My first introduction to learning dance came when a touring company of Aida came town, and a neighbor’s class was asked to dance in the show. My neighbor taught me the dance her class performed, which I can still do today.
In addition to dance I always had an interest in theatre. So when my dad brought me a marionette from his business trip, I was on my way. I teamed up with a girlfriend down the street. By fourth grade we were doing shows for birthday parties, library events, and many projects at school. It was a great introduction to theatre. There was no fear. The marionettes were doing the talking, dancing, and acting.
By junior high school with the encouragement of my mom who had been a tap dancer as an undergrad at the University of Chicago, I auditioned for Hansel and Gretel for the Baton Rouge Children's Theatre. The director was Jean Star Wicksell, who had been the children's theatre director at the Goodman Theatre in Chicago. She said I was too old looking as an eighth grader, but did I want to understudy. I jumped at it and didn't miss a rehearsal. Noting this enthusiasm, she called me the next three years offering me parts.
My senior year in high school, my dad moved us to New Jersey (EXXON). The show at Summit High that year was Brigadoon. A real musical with dancing!! I wanted to play Harry Beaton, the acting and dancing lead, but was cast as Mr. Lundie, the old man. The local town dancing teacher was hired to choreograph. I noticed that Mr. Lundie didn't appear in the script until scene seven, so I asked the director if I could dance in the first scene, and change costume after. Yes! Three of us guys were the male dancers for that scene. I was in heaven. Later that year he asked us three to dance in his school recital, we did a scene from Graduation Ball, and a dance for just us guys. I was totally hooked on dance by then.
I attended college at Northwestern as a theatre major. There was no dance program there in the late fifties. I went into Evanston to take classes with Gus Giordano, who had just come to town after dancing on Broadway in Pal Joey. For ballet I went into Chicago and studied with Edna McCrae. After sophomore year, I did summer stock as an intern in a tent theatre outside Buffalo. I made and painted scenery and got parts in three shows. I learned a lot. At the end of my junior year, I was tumbling and moving as a devil in Don Juan. I got a message someone wanted to see me after the performance. (Chicago modern dance legend) Sybil Shearer and her friend Helen Balfour Morrison ask me to audition for Sybil's dance company. I did, and danced with the company for the next 20 years.
While at Melody Top I was friends with the guy across the hall, Micky DeFiglia. He later changed his name to Michael Bennett and created A Chorus Line. I had a great summer. I managed to pay rent and eat on my salary of $25 bucks a week. At New Trier I taught dance, drama, and musical theatre, creating two dance classes for guys only.
What drew you to dance classes?
As a child, I loved to move. But my only training was the trapezes and tightropes I had hooked up in the back yard. When I played the Scarecrow in the Wizard of Oz, Mrs. Wicksell said," You move so well, I should make a dance for you." Never happened. I learned the munchkin dance for fun.
About 10 years ago, I had torn meniscus snipped in my right knee. I asked the doctor what I should give up so that I could walk when I was ninety. He said rollerblading and ballet. I did. A few years later my knee started bothering me again. My internist sent me to Victoria Brander who shot a gel in my knee. And she said go back to ballet.
What do you most enjoy about coming to class, and what motivates you to keep dancing?
Lynne's classes are fun and challenging. You have to stay alert. Combinations are always changing. Aerobic, so you heart gets a workout, too. What could be better than to have a doctor as your ballet instructor? I always look forward to attending class at CBG.
Young Toby savoring the joy of being on stage
Toby in performance with Sybll Shearer (photo credit: Helen B Morrison. Morrison-Shearer Foundation)
Toby dancing with his future wife, Juanita in Sybil Shearer’s company (photo credit: Helen B Morrison. Morrison-Shearer Foundation)
Toby in character