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Episode 10 | Innovation II: Gianna DeMassio
23 Plays7 days ago
In this episode of At the Barre, we go behind the scenes with Madison Ballet apprentice and emerging choreographer Gianna DeMassio
In her first season with the company, Gianna shares her journey from a competition dance background to discovering her passion for ballet and how she unexpectedly fell in love with choreography during her training.
We also dive into her choreographic process for Innovation II, where she premieres a new work titled Memento Vivere inspired by a meaningful moment while dancing in Italy. The work is centered around the passage of time and the emotional experience of living in the present.
Gianna offers insight into what it’s like to create work on her peers, how she balances her own movement voice with the established language of a company, and why she’s drawn to grounded, human-centered movement that resonates both with dancers and audiences alike.
About Gianna DeMassio
Originally from upstate New York, Gianna began her ballet training at the New Paltz School of Ballet under the direction of former New York City Ballet dancers Lisa and Peter Naumann. At fifteen, she joined Pittsburgh Ballet Theater’s Full-Time program, while also attending summer programs at the Chautauqua Institute and American Ballet Theater in NYC. After graduating from high school, Gianna joined Charlotte Ballet as a trainee, where she studied with the renowned Patricia McBride and began choreographing under the mentorship of Mark Diamond. In 2020, Gianna joined the Richmond Ballet as a trainee and was promoted to their Studio Company shortly after. While dancing with Richmond Ballet, she worked with choreographers such as Jennifer Archibald and Katarzyna Skarpetowska, and performed with the company in many mainstage productions, including her favorite, George Balanchine’s Serenade. From 2023 to 2025, Gianna danced as an apprentice with Ballet Rhode Island under the direction of Kathleen Breen Combes and Yury Yanowsky. While there, she enjoyed performing in diverse repertoire, as well as choreographing her own new works for the company. Gianna is looking forward to her first season with Madison Ballet!
INSTAGRAM: https://www.instagram.com/gigi.825/
See Memento Vivere by Gianna in 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
PODCAST COVER PHOTO: Matthew Ulrich
DANCER: Madison Ballet Company Artist Lauren Thompson
MUSIC: Capet String Quartet - Ravel (Col. D 15057-60) 1928
GIANNA HEADSHOT: Lexia Frank Photography
Recommended
Transcript
Introduction to At the Bar
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.
Meet Gianna Damasio
00:00:41
Speaker
Welcome back to At the Bar with Madison Ballet Special Projects. I'm Chris Farenthal, Director of Special Projects. And I am very delighted to be joined today by Gianna Damasio, a dancer at Madison Ballet and also a choreographer in the upcoming Innovation 2 program, May 8th through 10th. I'm actually a fairly new colleague of Gianna's. This is her first season at Madison Ballet, and I'm very anxious to learn about her journey today.
00:01:12
Speaker
into ballet and Madison Ballet in particular, and also about the piece that she's creating on Madison Ballet in particular.
Gianna's Dance Journey
00:01:20
Speaker
So thank you again for joining us. Can you tell us a little bit about how you became a ballet dancer and what drew you to the art form in particular?
00:01:31
Speaker
I actually started dancing when I was two years old. My mom put me in dance at two, so there really hasn't been a time where I haven't been dancing pretty much for as long as I can remember. I started in all kinds of dance though. i was a competition kid, so I did jazz and tap and tumbling. liked to do gymnastics.
00:01:56
Speaker
I just loved it. I loved it. And then as I got a little older, I started finding my way towards ballet. I was definitely gravitating towards it more. So once I was around 14, 15, I started focusing on that. And I just loved it so much and I couldn't imagine my life without it. And so i was like, well, I have to figure out a way to make a career out of this because I'm not going to stop doing this at this point. Obviously, it's a living art form, but one that we associate with the 18th 19th century in terms of the great canon.
00:02:33
Speaker
How was it that you as a young child were like, this is my thing? Well, honestly, it was my teachers at first. When I was younger, I had a teacher who told my mom, like pulled her aside and was like, I think Gianna needs to be in ballet. Like, I think she just saw a natural gift for it. A discipline that I had that maybe the other children at, you know, eight, nine years old didn't have. And she was like, I think she should start taking this more seriously or taking more ballet if she likes it.
Passion for Ballet
00:03:11
Speaker
And I did. Like, if I'm being honest, that is what started drawing me to it. Because I was like, oh, I'm good at this, apparently. Like, okay, I'll see where this can take me.
00:03:23
Speaker
and What really sold me on it was when I started doing the Nutcracker. I joined another studio. The New Paltz School of Ballet is where started my like real ballet training and I did their Nutcracker for the first time when I was eight.
00:03:41
Speaker
And... I absolutely loved it. i did it every year since then. And when I was 11, was Clara in their Nutcracker.
00:03:51
Speaker
And I think that moment is actually what solidified for me, like, oh, I love this. Like, I loved... playing her character. I loved the story. i was so in it.
00:04:05
Speaker
I would say that is the defining moment for me of when I was like, okay, this is what I want to do. What were the other things that you might've been doing otherwise? Were pulled away from dance by anything or it was just like you liked being good at this and it was satisfying. So you kept doing it.
00:04:24
Speaker
It was hard for me to give up on the competition dance part, on giving up other styles once I started focusing on ballet. It was hard for me to kind of take a step away from that.
00:04:38
Speaker
I also was a gymnast for a while as a kid. i think that was another thing that I... Missed out on, but ultimately when it came down to like, okay, I'm getting to the age where I have to commit myself to something like if I want to join the team or if I want to, you know, that I can't spread myself too thin. But ultimately, it was always going to be one kind of dance or the other. I don't think there was ever like...
00:05:05
Speaker
a no dance path. It was just like, okay, which way are we going to Or maybe the gymnastics route maybe would have happened in another life. But it was always some sort of art form, physical thing like that. So you're from the Northeast, and now you dance in the Midwest. So how did you arrive at Madison Ballet?
Joining Madison Ballet
00:05:28
Speaker
I actually came here because i formally danced at Ballet Rhode Island under Kathleen Brink-Combs and Yuri Janowski. And they have a very close relationship with Jamalik.
00:05:41
Speaker
our director here. And last year, i was an apprentice with them. And they were like, you're a beautiful dancer. We've loved having you here. they just had no open positions is another very small company, you know, budget things. And they're like, we'd love to keep you we can't. So I was auditioning a lot last year. And it's really hard. It's really hard out there right now for dancers looking for jobs. It's very competitive. There's just too many beautiful dancers out there for how many companies we have. Luckily, i was talking to Kathleen and she was like, well, did you audition for Madison Ballet? Like, you know, we love Jamalik. He went to Ballet Rhode Island and has choreographed there.
00:06:28
Speaker
And yuri was actually, he came earlier this season and choreographed a piece here. And she knew he would be doing that. So she was like, oh, I can reach out to him and see if, you know, they still have any open spots if they're still hiring like I think you would do really well there and I was like yeah that would be great and so that's how I kind of got in the like a connection with Shaw and I sent him my materials and that is pretty much how I ended up here was because of their relationship I had to come audition of course but that was kind of the connection there's just so many companies when you're auditioning and when you're an apprentice or a trainee everyone kind of
00:07:09
Speaker
sends their stuff out everywhere. And it's just like, fingers crossed, please. you know Madison Ballet was always on my list of like, oh, I want to send there. But through audition seasons, you can only like afford to travel so often. You can only afford to like, okay, which auditions am I going to go to in person? And I had originally missed the Madison Ballet audition. So when she had asked me,
00:07:32
Speaker
If I had heard of them, i was like, yes, I missed the audition. Like I was already traveling. i So when she reached out to him for me, I was super grateful that they were still looking for people.
00:07:44
Speaker
It's a very small world for a very large world, isn't it? Yeah. And yeah I've talked to a lot of choreographers and dancers who are choreographers, but not a lot as young as you or as early in your career.
00:08:00
Speaker
And I don't think a lot of people know about that. aspect of having to cover your travel for auditions and how that works. So to what degree does that weigh into your decision to audition for a
Challenges in Dance Auditions
00:08:19
Speaker
company? Is that part of the thing that you've cost in? It completely does. When I was auditioning last year, half the time where I chose to go audition was, okay, which flight is going to be cheaper.
00:08:32
Speaker
For people who don't know, you usually start by sending a video audition. And places will invite you to either come to company class, to a private audition. Some places don't even do that. There's just open calls. I try to stay away from those personally just because I think it's usually more worth traveling if I already know, okay, they're at least a little bit interested. They've already seen something of mine. If they weren't interested at all, they wouldn't invite me. So, but yeah, like there's only so many weekends through audition season. And I'm also dancing at the time. Like I am fully dancing for Ballet Rhode Island. So, and actually last year during audition season, I was choreographing for them as well. So I was really busy. And so to find times to go audition, you only have so many weekends. a lot of places invite you the same weekend. So a lot of it,
00:09:23
Speaker
really is like, okay, well, which flight is going to be cheaper? Which one makes more sense to like, go to time wise, you know, sometimes when you're in a city, you can almost try to do two or three. i went to Colorado last year and did like a couple that I could get done in like,
00:09:40
Speaker
one weekend, you know, so when that's able to happen, then I'm like more inclined to go But yeah, like there is a lot of logistics that I think people don't even and talk about or think about. It's like, well, I can't afford to go yeah everywhere. And, you know, I'd love to go audition for Boston Ballet, but I'm like, I also have to be realistic. have to weigh a lot of options, money wise, time wise. Yeah, I think that's definitely one of those built-in costs that people don't consider about dance education is the traveling to become a professional.
00:10:14
Speaker
It was fascinating having Yuri Janowski come out and choreograph for us recently. You've worked with him before.
Choreography Beginnings
00:10:22
Speaker
I didn't realize that you had also choreographed at Ballet Rhode Island. So when did that desire compose dance sort of emerge in you?
00:10:34
Speaker
When I was younger, i had no interest in it really. i am someone that I never taught dance. I never, like once I left the studio, i usually have, I have another job. I bartend or serve or something. So I've learned as I've gotten older, especially I like to leave my dance day and leave it. I think it's like best for my mental health personally. That does seem very healthy. Yeah.
00:11:01
Speaker
So, you know, I didn't teach or anything like that, but how it started was actually when i was a trainee with Charlotte Ballet. I was 17, 18 years old back before COVID.
00:11:15
Speaker
And in that program, we have a composition class that was taught by Mark Diamond. And every week we had to learn how to choreograph. That was just part of our education as trainees there.
00:11:29
Speaker
And at first, honestly, I didn't like it. Like we'd get little assignments every week. Oh, you have to choreograph a minute using this technique or this or, you know, and we do it on each other. And I was always like, OK.
00:11:41
Speaker
And then at the end of the season, he had us all create a one minute piece. And then he would pick like seven of them to expand upon and then be in our final composition show. And i did my one minute piece and I was like, oh, I kind of like this. it was pretty good. and my piece got picked to be in the final show. And so I ended up creating a full piece. And that was the first time I choreographed and i ended up just loving it. It was kind of, again, one of those things where I hate to admit this, they were like, you're good at this.
00:12:15
Speaker
You should do it. And I was like, Oh yeah, I am good at this. And I did end up just loving it. And the more I do it, the more I love it. And I've done it pretty much every year since I was 18, 17, 18. This is now going to be my, think, sixth piece of choreographed, believe. I think that's lovely. I think it's always wonderful when people could admit that they are good at things, even if it's surprising to them. But yeah, I think it's it's very interesting to me as someone who's come to dance as production staff first, but then also i think something of a scholar of dance, how you guys are both executants, like people who embody other folks. Yeah.
00:13:01
Speaker
movements, but then some of you also want to create movement yourself. If you have ever watched a ballerina float effortlessly across the stage, you've seen the magic of pointe work.
00:13:13
Speaker
But what you might not see is everything that happens behind the scenes. For our dancers, pointe shoes are not just costumes or accessories. They are essential tools of our art form.
00:13:25
Speaker
Professional dancers can go through a pair of pointe shoes in a matter of weeks, and sometimes even in a single performance. With each pair of pointe shoes costing about $100, the annual pointe shoe budget at Madison Ballet exceeds $25,000.
00:13:40
Speaker
But did you know that you can help keep our dancers on their toes? When you donate $100 to the Pointe Shoe Fund, you're directly supporting the dancers, helping them stay safe, perform at their highest level, and bring incredible artistry to the stage.
00:13:54
Speaker
And as a thank you, you'll receive something really special, a signed pair of pointe shoes from a Madison Ballet company member. Every pair of pointe shoes tells a story, and with your support, that story can continue. Visit our table at the upcoming performance of Innovation 2, May 8th through 10th the Overture Center to take home your one-of-a-kind keepsake and keep our dancers on their toes.
00:14:16
Speaker
I'm really curious to ask you, in creating a work on your colleagues, is that a different dynamic, or is are dancers dancers, and are they pros and they just take what you give them?
00:14:28
Speaker
Sometimes it can definitely be a different dynamic. there's moments where you're like, oh yeah, like we're colleagues, especially when the days are long. We all know each other, we're all comfortable. So I think there tends to be a little more goofing around in a fun way, like it's still professional way, but I think we let ourselves be ourselves a little bit more when we're with each other than if someone's in the front of the room who, you know, you've never worked with before, you don't know. Like, I think it's the same way as like,
00:15:03
Speaker
when you have guests over at your house, right? Like you kind of put a face on and you're like, okay, this is, my house is clean and this and that. Like where, you know, if it's your best friends that, you know, you see all the time, you're like, yeah, help yourself to the fridge. Like I'm not changing out of my pajamas. Like it's kind of like that dynamic in a way, but I think we all still respect each other a lot. And there is like,
00:15:33
Speaker
Also a work ethic for like, I care about you as a person and I work with you every day. So I want to make you proud too. And I feel that working with my colleagues, like I feel that when I'm in the front of the room, I can see when they're like, we want to make your vision come to life because not only is this our job, but we also like know you and we get your thought process and the background. And so that's also like really exciting. And I think it makes the process even more enjoyable, in my opinion, like knowing everyone. and but yeah it's definitely clear that there is respect for each other when I've seen you guys in in rehearsal with each other. But it does seem interesting to imagine like having to be day one, hour one, front of the room. do you create a persona or are you just Gianna always?
00:16:29
Speaker
I don't have to put on a persona, but I think normally I'm a little bit more quiet. I'm not like super social. I'm also new. So this is my first year in the company. So, you know, especially compared like to the beginning of the season,
00:16:44
Speaker
I think I come across a little bit shy at first. But when I'm in front of the room, like starting this process, I do think it's like the most a lot of people have heard me talk. like Or they're like, oh, wow. I i do tend to take charge when I'm in the front room. Like from minute one, I'm like...
00:17:06
Speaker
I know what I want for the most part. There's always things you want to work with your dancers on. But for the most part, I come in knowing exactly what I want, knowing exactly what I want to do that day, what I what i want to achieve.
00:17:19
Speaker
And if I don't, like, I'm very communicative about that with them. So i don't have a persona necessarily, but I do like to... make it clear that like, I am in charge, like this is my rehearsal. Because like you said, we are colleagues. And I think it can get a little bit like, oh, we're just having fun and working together. And I do love that. But yeah, I definitely came in and was like, all right, guys, let's get to work. Well, let's talk about your piece in particular. So can you tell us what your new creation is and what you've made on Madison Ballet?
Creating 'Memento Vibra'
00:17:55
Speaker
So my new creation, i finally came up with a title for It's called Memento Vibra, and it means remember to live in Latin.
00:18:06
Speaker
When Joss sent us the email that was like, oh, if you want the opportunity to choreograph, send a submission, write me a proposal, and I'll decide. When he sent that email, it was July and I hadn't even moved here yet.
00:18:22
Speaker
I was like, oh gosh, I would love to choreograph, but I don't know any of the dancers. I don't know what they look like. I don't know how they move. I don't know what I would want a piece about.
00:18:35
Speaker
And there was also no like guidelines of like, oh, it has to be this theme or it has to be on point. There was just like whatever you'd want to do is very open. So at first I was like, oh my gosh, I have no idea. But I wanted to choreograph and I had to submit something.
00:18:51
Speaker
And when he had sent it, I was in Italy. I was at Orsalina, which is an art program. It's in Northern Italy. And i was doing an intensive with Medi Walreski, who is the artistic director at Ballet BC. It's very contemporary, lots of work in socks, just an incredible experience. But while I was there...
00:19:14
Speaker
There was like a moment where we were on their open air stage. So it's just like this huge stage completely outside and you're overlooking the hills of Italy. And I remember just being like, oh my God, this is literally a dream come true. I'm dancing in Northern Italy. It's beautiful. Like I'm doing incredible movement. I'm learning so much.
00:19:35
Speaker
And I remember standing there just being like, I want to take this in. I just want to like stand here and be in this moment forever. I never want to leave.
00:19:45
Speaker
But as I thought that I was like, Oh, this moment's already gone. Like today's our last day. Like this is it. I'm never getting this moment back again. It's like that idea of, Oh, this is already becoming a memory as I'm yeah thinking it now.
00:20:01
Speaker
And thought that, was like, that would be a great idea for a piece. And so I emailed and I was like, this is what I'm proposing. And it was a very broad idea, but I was like, all I know is I want that feeling in my piece. And so that's really all I had.
00:20:20
Speaker
and then as I've seen everyone move and I've danced with these incredible, incredible dancers we have at Madison Ballet. You know, i was just even more inspired by them and what they can do. So my piece is three movements. The first and the last are group sections, big group sections. I wanted to have people...
00:20:40
Speaker
on stage as much as possible. I wanted to show them off. And what music is this to? Philip Glass. A string quartet of Philip Glass. But the second movement is a pas de deux and it's a spoken word piece over like kind of ambiance music.
00:20:57
Speaker
The whole idea I kind of put together was I wanted to almost mimic life. i wanted the piece to start as if you're dropping in from in someone's life. Like you don't remember the beginning. Life just keeps going. Time just keeps going on. There's no stopping it. There's no starting it.
00:21:21
Speaker
There's no rewinding. There's no going faster. There's no going slower, but it's funny because although time is so consistent and Sometimes moments will make you feel like time's going really slow.
00:21:34
Speaker
Like that moment I had in Orselena. It was like time slowed down and I was like, whoa. And then sometimes time goes by really fast. You're like, oh my gosh, it's been an hour already. Like, that's crazy. So that's kind of the feelings I wanted to mimic in my piece was this idea of time is continuously always going at the same rate.
00:21:55
Speaker
But there's moments and things that happen in our life that... can make it feel like it slows down or speeds up. That was pretty much. think that's very
Artistic Style and Preferences
00:22:07
Speaker
wise. There's of course, time as duration and then time is odd to write, like the experienced amount of time and they're very different.
00:22:17
Speaker
I love that you're tackling that and your piece. I think it's a really difficult thing to tackle, especially because in dance, like what you do is always move in time. What do you think of as your movement vocabulary?
00:22:33
Speaker
I mean, you don't have to describe it. Maybe it's too soon to know what your movement vocabulary is, but... What choreographers or what movements feel resonant to you in a way that are expressive of how you feel in those moments?
00:22:50
Speaker
Dance that i love to do, especially as I've gotten older and have worked with a ton of amazing choreographers. i think what's resonating with me most now music.
00:23:06
Speaker
more contemporary work than classical ballet. I really love feeling grounded. My piece is in socks. And i think a lot of my movement is just what I like to do. Like, I think it's what comes naturally to me. But I also think about pieces that I've loved watching that have resonated the most with me.
00:23:28
Speaker
And a lot of those I found are pieces where you're not necessarily doing anything crazy difficult. It's not a piece necessarily with beautiful extensions and beautiful lines. And, you know, and those things are beautiful. And I, you know, it has its place. But for me, I think what resonates with me most is pieces I see that are so human-like.
00:23:53
Speaker
that I think all audience members, when they're not dancers, I think they also can resonate with that more. You know, when you see something simple that's like, oh, I do that movement in my everyday life, but when you see 10 dancers on the stage all doing it together in a specific way, like, I don't know, it's so powerful to see dancers sometimes do things that are so human.
00:24:17
Speaker
to remind ourselves like we're also human. I think my movement strays away a little bit from like the perfectionist side of dance and you know what all the beautiful lines and things. I try to create things that are a little more individual. Like I like to see how all of the bodies do my movement their way.
00:24:40
Speaker
Don't get me wrong, I'm still particular about like certain things. I'm sure some of my dancers are like, well, this doesn't feel natural to me at all. but Well, I like that you have opinions. I think that's important. It's something I love to see, and I think it's something that'll be very different.
00:24:59
Speaker
I've had a different path here, and I'm also new here. Anywhere you dance, there's kind of a language that you can tell this company is really like good at. You're like, this is their language that they're comfortable in and that they do a lot.
00:25:16
Speaker
you know And coming from Ballet Rhode Island to here, think my language is still a little bit different than what it is here. do you the Madison Ballet language is? I came from a place where we do a lot of very like grounded contemporary work. And there's a lot of those. And here, like, they're very good at this, like, fast ballet point work. They all beautiful lines. They're just gorgeous. And when I like, sometimes i feel like I'm struggling trying to keep up, you know, do what they're doing.
00:25:50
Speaker
And I think it's also very like reminiscent of Jamalik's choreography. you know They do a lot of his choreography. I can see it resonate in some of their other pieces I've seen. you know i'm like, you choreograph based on what you've experienced. And so like when you're with people that have been experiencing the same thing for the past couple of years, however long they've been dancing here, like you can see bits of it show up in their choreography. And it's beautiful. It's just different from, I think, where I was like, I'm going to lean into like what i have done in the past instead of try to fit in, if that makes sense. Because of it's more comfortable and because it's more authentically you? Because it's more authentically me. To me, it's more comfortable, but I'm like, I also have enjoyed pushing some of these dancers because I can tell what I find is comfortable is not comfortable to them.
00:26:47
Speaker
And it's fun to see them growing and trying different things. And I love sharing. I've worked with so many choreographers. And even this summer when I was at Ursulina, I learned so much. And like I love also being able to share that with my colleagues as well.
00:27:04
Speaker
I love this aspect of... creation as it concerns dance because you guys move in time. And so any movement in time just positive.
00:27:17
Speaker
Like it's the only movement that you can make in that time. And yet you've created it. So that's really beautiful. What would you imagine that someone coming to innovation to would and experiencing your peace, what do you think that they should experience in terms of, if not an arc, beginning, middle, end, but like, what kind of experience do you think that they should come away with?
Interpretation and Audience Engagement
00:27:46
Speaker
I don't know. i didn't want to create a particular story and it have like a storyline. Yeah. in mind necessarily. i do think there is a little bit of an arc with my piece and there is like the faintest idea of a story, but I think it's open-ended enough where everyone can take away what they feel. And that was kind of the idea. i was like, I don't need everyone to think what I'm thinking of this. Like I have my own story for it.
00:28:18
Speaker
And I think however it resonates with the audience is fine by me. Like as long as it resonates with you at all, whatever you take away from it, that's great. It'll be interesting to see if people can kind of tell what it's about. Or if they gather that, you know like I'm not sure. Like I said, there's not really a story. you know It was more of an idea, and it's still just movement. I think that's one of the long-form missions, maybe, of Madison Ballet Special Projects, which is letting our audience know that there are things to come to the ballet for that are not just stories.
00:29:01
Speaker
yeah And sometimes it's seeing the music, hearing the dance, and sometimes it's just experiencing the emotion. And I like that. i did always want to ask, since you know we have a ballerina with us, what do you wear? Who do you wear? oh my point shoes. I wear freeds. I wear freeds.
00:29:23
Speaker
Yeah, right now i've been wearing the C-Pro 90s, and I've been changing makers. Anyone who wears freeds knows It can be difficult to get the makers you like. So you kind of just got to be go with the flow. How did you get into that How did you find the maker that you liked? And how sad is it when you can't?
00:29:44
Speaker
Man, it's a process. It's a process. I actually just switched to Freed's like two years ago. So it hasn't been that long You just got to try it. Like you don't know until you try them. They have like a little bit of a guide of like what the box size would look like. the the but And then like half the time you get shoes from the same maker and they still feel completely different. So.
00:30:09
Speaker
Wow. you know the just The technology of ballet is is really fantastic and difficult to parse. so Yes. Well, thank you so much, Gianna, for joining us tonight. I really appreciate you spending the time. And I cannot wait for Madison to see your work at Innovation 2, May 8th through 10th at Promenade at Overture
Conclusion and Invitation
00:30:36
Speaker
Center. I hope that we will get to see you compose more works in the future.
00:30:42
Speaker
And thanks so much for you spending time tonight. Thank you so much, Chris, for having me.
00:30:51
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.
00:31:05
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.
00:31:16
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.
00:31:31
Speaker
Thanks again for listening. We hope to see you at the ballet soon.