Become a Creator today!Start creating today - Share your story with the world!
Start for free
00:00:00
00:00:01
Episode 8 | Innovation II: Sarah Martin
25 Plays9 days ago
In this episode of At the Barre, we are joined by Sarah Martin, Company Dancer with Madison Ballet and emerging choreographer featured in this season’s Innovation II.
Sarah shares her journey from early training at BalletMet to trainee programs across the country, and how the relationships she built along the way ultimately led her to Madison Ballet.
We dive into Sarah’s lifelong love of choreography: from creating dances as a child to developing her third original work for Madison Ballet. She shares insight into choreographing within the company, including how collaboration, trust, and familiarity influence the studio dynamic.
We also get a sneak peek at the making of her new piece, Circles in Blue, a nostalgic work set to the music of Joni Mitchell that draws on her personal memories and a deep connection to the music.
About Sarah Martin
Originally from Columbus, Ohio, Sarah Martin trained at BalletMet Columbus and Pittsburgh Ballet Theatre before continuing her studies as a trainee with Charlotte Ballet and Richmond Ballet. She had the opportunity to perform multiple Balanchine works as a trainee with Richmond Ballet, including Who Cares? and Divertimento No. 15.
Since joining Madison Ballet in 2019, Sarah has appeared in classical works such as Paquita, Birthday Variations, The Nutcracker, and A Midsummer Night’s Dream. She has been able to work with choreographers such as Ja Malik, Richard Walters, Stephanie Martinez, Marika Brussel, Alia Kache, and Yury Yanowsky. In addition to performing, she teaches dance and yoga and continues to explore choreography. She enjoys being involved in the Madison dance community.
INSTAGRAM: https://www.instagram.com/smint4thewin/
See Circles in Blue by Sarah at Innovation II @ Overture Center Promenade Hall May 8-10, 2026
🎟️ madisonballet.org/innovation-ii
Join the conversation!
MBSP WEBSITE: https://www.madisonballetspecialprojects.com/
INSTAGRAM: instagram.com/madisonballetspecialprojects
Questions/comments? Email us at hello@madisonballetspecialprojects.com
Credits
PHOTO: Matthew Ulrich
DANCER: Madison Ballet Company Artist Lauren Thompson
MUSIC: Capet String Quartet - Ravel (Col. D 15057-60) 1928
Recommended
Transcript
Introduction to 'At the Bar' Podcast
00:00:05
Speaker
I'm Chris Ferenthal, director of Madison Ballet's Special Projects, and this is At the Bar, your behind-the-scenes look at the ideas, stories, and creative processes shaping Madison Ballet's work.
00:00:18
Speaker
Each episode brings our community a little closer to the dancers, choreographers, and collaborators who are making ballet in Madison right now. Whether you're a seasoned ballet domain, current or former dancer, or simply curious about how dance gets made, we warmly invite you into the room where it happens.
00:00:42
Speaker
Welcome back to At The Bar with Madison Ballet Special Projects.
Meet Sarah Martin and Her Role in 'Innovation 2'
00:00:46
Speaker
I'm Chris Farenthal, Director of Special Projects, and I am thrilled to be joined today by Sarah Martin, a colleague of mine and a beautiful dancer, but also a choreographer on our upcoming program, Innovation 2, May 8th through 10th.
00:01:01
Speaker
Thank you so much for joining the podcast. Thanks for having me. I'm excited. Part of what I wanted this podcast and special projects generally to do is introduce Madison to its dancers and the dance world to Madison. So we get to do that by you know interviewing you who...
00:01:21
Speaker
have been dancing in Madison Ballet for as long as I've been here. I think you got here a few years before me. And also, we want to be able to give people some context and some backstory for the pieces that they'll be seeing on stage.
00:01:35
Speaker
We get to do both of those hosting you tonight. So...
Sarah Martin's Dance Beginnings
00:01:39
Speaker
Before we get into the piece that you've created for Innovation 2, I'd like to just learn a little bit about your journey to Madison, which starts with your journey into the studio. So what was your training like growing up and when did you begin to focus on ballet?
00:01:56
Speaker
I started dancing when I was really little and my like dance training, i probably started around like second grade going to Ballet Met in Columbus. So that's kind of where I got like my foundation of ballet and we did some other styles. It was very like well-rounded, solid dance training. So from there,
00:02:20
Speaker
I did a couple different trainee programs. I ended up at Richmond Ballet as a trainee for two years. And Tom Mattingly, who was a former ballet master here, came to Richmond Ballet. And then he ended up bringing me back here for the 2019 season.
Networking in Dance: Opportunities and Growth
00:02:40
Speaker
Great. It does seem like those relationships that you make in one place often you know become the source of the next job or dance people seem to meet up several times in their career at various places.
00:02:52
Speaker
Yeah, definitely like the connections that you make when you're even just auditioning places or taking classes or doing like summer programs. I feel like a lot of those like connections are what circle back to like jobs that you get and opportunities and stuff. So it was really cool because he just came back to set a piece for the last program we did. So it was very full circle. Yeah. Yeah, that was exciting. Tom was the ballet master when I first arrived and it was that post COVID mid summer night stream that we did. That was my first show at the ballet. So between you and Michaela and Shannon, you guys are the institutional memory of Madison ballet, it seems.
00:03:35
Speaker
ah Yeah, I didn't realize that was your first program with us. That makes sense. I feel like it all blends together and oh I don't know people come and leave. So when you were growing up, did you do summer intensives at other companies? Did Ballet Met kind of just serve as your training until you auditioned and eventually were in the pre-pro at Richmond?
00:03:55
Speaker
Yeah, I skipped some things there. I didn't really go to a lot of summer programs, actually, just because Ballet Met was good and I didn't have to leave home.
00:04:07
Speaker
So i didn't do a ton of like summer programs until I was high school-ish. and then I was at Pittsburgh for a little bit in their high school program and then Pittsburgh Ballet Theater. And then I went to Charlotte Ballet as a trainee and then Richmond Ballet as a trainee. So kind of bounced around for a few years, which I think is pretty common now.
00:04:35
Speaker
yeah
Family Background and Interests Beyond Dance
00:04:36
Speaker
yeah. Are you from a dance family? Are you the only dancer among your siblings? I'm the only dancer in my family, it feels like. My parents had no idea what I was getting into or anything.
00:04:50
Speaker
yeah they were super supportive, but they were like... Didn't know the field. and Yeah. Well, were there other things that you were interested in whether it was other artistic things or sports or other hobbies that ever competed with time in the studio or when you knew, did you know?
00:05:08
Speaker
I kind of played sports because that was the norm, I feel like, in my family and in like the school that I went to. i did like tennis and soccer. and I liked just being active.
Athleticism in Dance: A Personal Journey
00:05:20
Speaker
My parents said that I was very like graceful in all the sports that I did and very balletic. I wasn't aware of that. i was just having fun. But I feel like when you get to like middle school, you kind of have to... like start training more hours and then I remember I didn't do this middle school soccer team I said no to that which did kind of feel like a social I couldn't hang out with those friends at school as much versus dancing with like my dance friends but yeah I just loved to dance more than the other things You guys are all athletic artists. So I'm always interested in what the other sports were that you might have been doing if you weren't dancing. And, you know, honestly, tennis and soccer are in their ways, two of the more balletic ones. I think a lot of the range of motion and the having to be in the right spot at the right time and, you know, but the ground strokes and the volleys are really beautiful. And then in soccer, you've got an entire core out there of, you know, loose choreography. Yeah, that's funny. Yeah, I was always like a midfielder. So I was just like running back and forth.
00:06:28
Speaker
But yeah, I'm also like left handed. So people always wanted me to do sports because they're like, you're lefty, you'll have a different spin on the ball. And I didn't really care about that. This does give me a chance to ask question I've always wondered, but kind of forgotten about after the fact. When I watch company class or any class, of course, you know, once you go to center and even a bar, you do everything left side, right side.
00:06:53
Speaker
So it's not like you can't do something, but do dancers typically favor crossing the floor right to left or left to right? Or is that a, if you're a you know a left-handed or right-handed person, does that affect what you feel more comfortable turning, which direction or something like that?
00:07:11
Speaker
I don't know about the left-handed, right-handed thing because, like, I'm left-handed, but I'm not a lefty turner. I think it's just naturally which way your body goes and then also, like...
00:07:25
Speaker
A lot of us kind of have it drilled in to go to the right for certain things because of just like ballet variations that you learn that are all to one side.
00:07:37
Speaker
So I feel like it's more typical to be like a righty turner. But with other movements, I feel like it just depends which side is stronger like... I don't know. It's kind of always changing with, I don't know, your strengths and coordination of things too. But yeah, for turning, i feel like most people like to the right majority. Yeah.
00:07:59
Speaker
That's interesting. When did you in your dancing career or even before, and like you're just a kid playing around, when did you feel like you enjoyed choreography or making up
Early Choreography Endeavors: The Beginning of Dance Creation
00:08:10
Speaker
dances?
00:08:10
Speaker
Or is that a recent development for you? I feel like that's something that I always love to do. I feel like that kind of goes hand in hand with my love of dance is like creating dance.
00:08:24
Speaker
Yeah, I used to like create dances on my cousins because I had girl cousins that were younger than me. that We would just make up dances. That started pretty young, just like part of what I liked about dance. I know you choreographed something for, if not innovation, then at least since I've been here, I feel like I've seen one of your pieces. The last time Shaw opened it up to the company, did you stage a piece?
00:08:48
Speaker
Yeah, so I choreographed a piece in the first innovation on three company dancers. And then before that, I don't know if you remember like the first time we did Paquita at My Arts. Yeah, I do remember a My Arts piece that you did. Yeah, it was on like the trainees and some of the dancers in the school.
00:09:08
Speaker
choreographed a piece on them. so yeah, this will be my third piece here. It's always fascinating to me to see you guys rehearse with both a choreographer of the piece itself or when they send a stager in who kind of represents the choreographer.
00:09:25
Speaker
But the wrinkle of you guys choreographing on each other is also interesting. So I'm curious, does the dynamic change at all for you? Because these are your fellow dancers most of the time. But then when you come into the room, you become a different character?
00:09:40
Speaker
Sarah Martin, leader of the room. I don't know. For me, I've only choreographed on either like my students or my colleagues for the most part. So feels pretty normal for me. It's fun because they're your friends. We all get along.
00:09:56
Speaker
I don't know. It feels pretty normal. Everyone's very like respectful. I mean, I'm sure there's a different vibe than if it's a guest choreographer coming in. Everyone's going to be a little more like on their toes and like nervous.
00:10:10
Speaker
So maybe
Choreographing Peers vs. External Creators
00:10:11
Speaker
it's a little more relaxed, but everyone is very like eager to do well, like especially for your colleagues because you like want their piece to look good and you want to look good. So we're like working together.
00:10:26
Speaker
What is the main source of that nervousness when someone from outside comes to stage something? is Do you feel like it's a constant audition or you just don't know what kind of personality they'll have? Or what is that?
00:10:38
Speaker
Sometimes it is like an audition if they haven't casted it. But i think it's also just not knowing like their personality. Sometimes you don't know the choreography. If if it's being set, sometimes we'll get like a video beforehand. But sometimes you know it's a new piece from scratch, which means it could be...
00:10:58
Speaker
such a wide range of different things. So I think, especially the first day, you're like, you don't know, you got to be ready for anything. You know, could be anything. And then just getting to know their like how they work, what their process is like, what their like communication style is like and stuff like that.
00:11:18
Speaker
That's fascinating. And when you you are choreographing on your colleagues, you all know each other very well. You know how you dance and what you respond to. And so I bet that does add to the comfort level of working with them. Before we get into this particular piece, I'm also wondering what...
00:11:36
Speaker
choreographers you've particularly been entranced by or that you've enjoyed dancing if it hasn't necessarily you know made its way into your choreography or has everything you've danced somehow become part of you know you developing your own voice? Where do your influences come from?
00:11:53
Speaker
This is a hard question. i feel like I've definitely absorbed a lot of what I've gotten to dance over like the years and like getting to work with different choreographers and different movement styles But I think we each have our own personal kind of style of how we like to move. And then choreographers that I've been inspired by, I think Twyla Tharp was like the first big one for me.
00:12:22
Speaker
Just like the musicality and the physicality and like humanness to her work. I mean, I love Jerome Robbins and I love classical ballet too. And yeah, I think there's like bits and pieces of of a lot of different choreographers that I've kind of been inspired by Growing up in your companies before you came to Madison, did you dance more classical roles or contemporary roles? Or was it kind of a mix like we do here of some contemporary ballet, some Giselle and Midsommar and stuff?
00:12:58
Speaker
It was a good mix. I feel like I had danced a lot of like the core of different ballets, but then I've gotten a chance to learn a lot of new works and a lot more contemporary work. So kind of like a mix, I would say.
00:13:14
Speaker
Certainly, Jamalik's programs give you all a chance to do many different kinds of dance over the course of not just a season, but sometimes even the same show, whether you're in socks or combat boots or pointe shoes, all within half an hour.
00:13:29
Speaker
Yeah, you saw me backstage putting on my boots. Yeah. Oh, yes, yes. placement of all the shoes that would get changed into was always funny. Everyone had to make sure that they knew where their pair was in the back. But you and Dana were there downstage right, hurriedly in the wings, getting in and out. always exciting to Yeah, it was like taking the tie. I still tie my pointe shoes. A lot of people have elastic ribbon, but I still tie them. So I was untying them super quick.
00:14:01
Speaker
If my fingers stopped working or if I tie them too tight, I'd just be like, oh my gosh. And then your feet are sweaty. and then Well, you always manage to make that change just in time. So we were never worried that you would go back on without your blazer and shoes on.
00:14:20
Speaker
Are you looking for a night out that blends art, ideas, and great conversation? We would love for you to join Madison Ballet Special Projects on Thursday, April 30th for At The Bar, Ballet Salons at Leopold's.
00:14:33
Speaker
Set in the cozy bookline charm of Leopold's Books Bar Cafe on Regent Street in downtown Madison, this free salon series brings you behind the scenes of the ballet world. Hosted by Chris Ferenthold, each evening features an intimate conversation with a special guest.
00:14:48
Speaker
April's guest is the stunning Madison Ballet Company member Shannon Quirk, a dancer who is truly synonymous with Madison Ballet. Join us as we celebrate her 15th season with the company and reflect on the artistry, dedication, and evolution that have defined her incredible career here in Madison.
00:15:06
Speaker
This event is free and open to the public. So come early, grab a drink, and get up close to the world of dance at Leopold's. Learn more at madisonballetspecialprojects.com.
00:15:17
Speaker
So let's talk about this new piece. For a while on production staff schedules, it said Sarah Martin, new
Creating 'Circles in Blue': Inspiration and Process
00:15:24
Speaker
creation. So can you tell us a little bit about it? So the piece is called Circles in Blue, and it's set to all Joni Mitchell music.
00:15:34
Speaker
So it's been really fun choreograph to her music. I've always loved her songs. I feel like I've known since I was little. I've always just loved the rawness of her voice and the way that she uses her voice.
00:15:49
Speaker
So a lot of the songs are from like her earlier part of her career. That's a little more folky. It was really fun piece to work on. It felt very like authentic for the music choice and just the concept. So the suite of five songs that you've selected, is there an arc to their progression or how did you decide in what order you wanted the various groups of people and and the music itself to come out?
00:16:16
Speaker
Yeah, it was kind of hard to figure out the structure because I had all these Joni Mitchell songs that I love and I had all these ideas of what should go with them. But coming up with the structure and the order of them was actually hard. And I ended up settling with a structure that makes sense to me, which is is something that is like really important to me because I really like when things are organized and make sense. So the first song and the last song are both group sections and they're both from the album Ladies of the Canyon.
00:16:52
Speaker
And then the middle three songs are from the album Blue. and those are like pas de deux and smaller, like a solo and smaller sections. so that's kind of the arc of the piece. Are you just embodying the music or is there a plot? Are there any characters that we we're watching over the course of it? Or is it each piece is finding you know a journey on its own?
00:17:13
Speaker
Yeah, there's not an overarching like story or narrative, and there isn't characters. But each section has like different inspiration to it. And when I was just thinking about this piece, I just really wanted...
00:17:30
Speaker
It's a come from like an authentic place. The first section, it's to the song Circle Game. The lyrics are all about childhood and growing up. So it's a lot about memories of my childhood. My parents would have these parties in the summer where they would like have all their friends over and their friends' kids would come over and we'd like play outside. And my dad is very into music. So he had like this big stereo in our living room and like the sound system. It held six CDs. So it had this CD player. there They would like rotate through and you could like hear it like rotate CDs.
00:18:10
Speaker
And I'm sure there was like Joni Mitchell songs on some of these CDs, a lot of like folk 60s, 70s, like 80s music. And it's not even that people were dancing to it.
00:18:21
Speaker
i mean, probably sometimes, but like just setting the vibe of like the party and like the people gathering. So I feel like I have like core memories that are like definitely my inspiration for sections, but there's not like a story or like a person who's like, that's me when I was a kid and that's my parents' friends. It's more just kind of the atmosphere that I wanted to kind of create. Oh, I like that. That makes sense to me, having, you know, senior piece in rehearsal, that vibe hang out kind of. And you're right. Her voice and her music is very direct, if not rough hewn, but authentic. Yeah. And your movement is really lovely, but fun in a way that I think is very much in in keeping with the spirit of of her music. I'm also always curious when a choreographer comes into the room, are you one of those who has...
00:19:15
Speaker
every step figured out in your mind and it's a matter of setting it on the people or do you discover things in the room? How does that work? That's a good question.
Collaborative Choreography: Embracing Serendipity
00:19:24
Speaker
This piece, I kind of came up with the idea for it last minute. I changed my whole idea like the week before. and I basically went into the studio because we had a week off. And I just like created phrases. And then I taught the dancers the phrases and we kind of changed some things up. But i think the thing that was like the most helpful for me was having those phrases of movement. and then
00:19:53
Speaker
being able to put them into like partnering phrases and say, okay, we're going to take this phrase and we're going to turn it into a partnering phrase because personally, and I think a lot of other female choreographers have this as well of like, it's a little bit harder to choreograph partnering.
00:20:18
Speaker
It's hard because when you don't have a partner to practice with, it but then getting into the room, it's something where I feel like it does take collaboration with the other dancers. So I think That was part of this process that was really good this time around. Because in the past, I've struggled with choreographing, like partnering. But I feel like having movement and then trying to figure out how do we take this and use two people and add lifts and things was really cool. So a lot of the stuff that ended up in the piece, I wasn't expecting because I didn't know how those things would
00:20:57
Speaker
work out and then of course like people add their own flair to things and sometimes you're like oh we should do that when someone does something so those are always happy accidents I feel like Yeah, i I feel like a lot of the rehearsals that I've been watching, especially for the most recent mixed rep show, Choreograph Her, I've seen a lot of problem solving in the studio, whether it's how do we get a person up into this lift or what would be the better transition from this to that. And it's the physics of two bodies trying to physically do a thing that, yeah, you can't exactly...
00:21:35
Speaker
rehearse just you know in your head in the car in the drive to the studio or something right yeah do you have dancers in mind for particular sections like did you choreograph the solo and think okay this is a ah Shannon quirk type thing or do you just take the dancers you're given i guess that's where that meeting them with what they bring to the table you know comes how does that balance itself in your mind It's like a little bit of both.
00:22:02
Speaker
I do think since we are coworkers, we do know each other. like movement style and strengths really well. So I think in that way, it's really easy to imagine who would be in which part. But I also kind of like to see like what happens if someone else does it? What do they look like doing it? The Shannon solo was something that Ja had mentioned to me. She's going to be doing just that solo for the last show of Choreograph Her.
00:22:33
Speaker
So I did picture her in that solo. And that kind of was like the jumping off point for the piece, actually, was I was thinking about a Shannon solo and how...
00:22:46
Speaker
Joni Mitchell would sound really good with that. And then i was like, maybe I should do a piece of all Joni Mitchell music. Oh, wow. So it organically kind of came about from a commission from your artistic director for a solo for one of the company members, who happens to be from California, no less. So I guess that kind of makes sense. I know. That's the other thing. The people I have learning the California pop are Shannon and Emmy, and because Emmy is the other cast of California.
00:23:15
Speaker
And they're both from California. So... Meant to be. Like it was meant to be, yeah. Yeah. Oh, that's wonderful. So you've choreographed. You're still actively dancing. I know you mentioned teaching. Do you enjoy teaching as something that you...
00:23:33
Speaker
would like to do beyond your dancing career or do you envision a turn toward administration or do you wanna choreograph? What else in the dance world do you think about doing or when you know it's time to hang them up? Do you wanna do something completely different in the civilian world?
Future Aspirations in Dance and Creativity's Role
00:23:49
Speaker
I mean, I love teaching. It can be exhausting when you're dancing and teaching, but i do love teaching and I love choreographing. And I just think staying creative is good for me. It's just good for like my spirit and just my energy to just keep creating.
00:24:09
Speaker
so yeah, I see myself doing more of that in the future. It keeps me like excited about life. Yeah. So just like staying creative in whatever ways that looks like, which could be another, a completely different job.
00:24:21
Speaker
I don't know. A lot of careers are very creative. Like my mom's a professor and she's like, I'm always having to be creative and solve problems. Kind of like what you're saying, like problem solving.
00:24:34
Speaker
What does she teach? Finance. Oh yeah. Okay. Or like risk management business. Yeah. Yeah. That's funny. Yeah. My mother is also a financial analyst and actuary type and the relationship between the kind of creativity that those folks have to bring to their world seems very different to me, but it's undeniably there. Yeah.
00:24:54
Speaker
Yeah, like Dajon is a computer engineer. And engineers have to be like, very creative. I mean, he's like choreographing his code basically.
00:25:06
Speaker
At work. For your public, that is your husband. And that's my husband, co star of some wonderful ballet content that you guys yeah put on Instagram, where he gives his reinterpretation of the program. And it's really quite hilarious. He's very game and a good dancer. Yes, he's like a huge ballet fan since meeting me and coming to all the shows with some of the other dancers, partners and things. It's a really good company. And I think people get along and that includes the Plus Ones and the extended community. It's a really great group to be around.
00:25:39
Speaker
Okay. Before we get out of here, I did want to ask, you've seen a lot of different aspects of the dance world, you know, and from various companies and various levels. What
Advice for Young Dancers: Embracing the Journey
00:25:49
Speaker
advice would you give your younger self or your students or dancers just starting out of things that you wish you had known or if there is just something that you've found was a hack or a habit of mine that you figured out that made your life easier. It's cliche. like People always give you advice when I was little.
00:26:10
Speaker
Even now, people always say, like just enjoy it. and It sounds very cliche, but it's true. like i feel like I would tell myself, my younger self who didn't know if she was going to be able to dance professionally, to kind of just enjoy the journey and enjoy, you know, if I enjoyed where I was at more, it would have brought more out of my dancing probably. Because when you enjoy it more, the audience enjoys it more. And yeah, it's cliche. And I feel like if I tell that to younger dancers, you know, they're probably like, oh, everyone says that. Well, I know I'm i'm getting old when I can say like, oh, no, that's just actually really good advice. That makes sense. Yeah, you should enjoy it. That's a hard thing for us to do when we're young.
00:26:57
Speaker
But it's definitely true. And I, having worked with dancers now for the past five or so years, I am very struck by... the precariousness of your lifestyle. I mean, you sometimes don't know if this is the last show you'll be in, in this company. And certainly every time you go out, it's the last time of that show. There's a lot of being present in the moment that I think we could all benefit from. So I think that's good advice. Yeah, I guess another one that I had to learn through like injuries is just kind of honoring your body and what its limitations are and kind of like working with your own limitations.
00:27:40
Speaker
Because I think I used to kind of get down about what I was capable of And it's similar. Everyone would be like, just use what you have and like do the most you can with what your body is given. Yeah.
00:27:54
Speaker
That's a big one that I think is really hard when you're younger. yeah I mean, that's all we can do is make the most of the body and the abilities we have. So I like that too for anyone.
00:28:06
Speaker
Well, thank you so much for joining me. And before I let you go, whenever we do have a choreographer who also happens to be an active dancer on point, I'm very curious to ask what shoes do you wear?
Switching Pointe Shoes: The Quest for the Perfect Fit
00:28:17
Speaker
I love that question. So I recently switched to blocks. They're block flexes. They're like a dupe of freed shoe, like freeds. So I switched to them actually this season.
00:28:32
Speaker
What was your refitting journey like? How did that work? Yeah, I was in Capizio's before and I felt like they kept changing the shoe and making it a little bit too wide on my foot.
00:28:46
Speaker
So I changed over the summer. I think that's the best time to change shoes is not like mid-season. But over the summer, we have time to like try different kinds and see how they work and stuff. Fascinating. I love all of the technology that goes into your artistry. It's really something those impressive, expensive machines they make for your feet.
00:29:11
Speaker
Yeah, and then we just kind of like bend them and break them. I know, as soon as they come out of the box. oh Well, thank you, Sarah. This has been such a joy. I encourage everyone to come out and see Sarah dance whenever Madison Ballet is on stage, but to see her choreography specifically at Innovation 2, May 8th through 10th. Thanks again, and I will see you in the studio before too long.
00:29:35
Speaker
Thanks, Chris.
00:29:40
Speaker
Thank you for tuning in to At The Bar with Madison Ballet Special Projects. If you enjoyed this episode, we invite you to experience Madison Ballet in person by joining us at one of our upcoming performances or community events.
00:29:54
Speaker
From accessible, innovative productions to in-depth conversations with artists, our goal is to create welcoming spaces where everyone can experience ballet in a meaningful way.
00:30:05
Speaker
You can find performance dates, event details, and ticket information on our website and social media platforms. Whether it's your first time attending or you're a long-time supporter, we'd love to see you in the audience and share the experience with you live.
00:30:20
Speaker
Thanks again for listening. We hope to see you at the ballet soon.