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Episode 4 | ChoreograpHER: Endalyn Taylor Outlaw
17 Plays8 days ago
In this episode of At the Barre, we are joined by Endalyn Taylor Outlaw, Dean of Dance at the University of North Carolina School of the Arts and guest choreographer for Madison Ballet’s ChoreographHER.
Endalyn shares her journey from a creative childhood in Chicago to an acclaimed career with Dance Theatre of Harlem and on Broadway, to her evolution into a choreographer and educator.
This conversation centers on her work It’s the Thing with Feathers. Inspired by Emily Dickinson’s poem Hope is the Thing with Feathers, the piece explores the varied ways hope can show up in our lives, with movement functioning almost as its own character. Set to a dynamic score by Nils Frahm, the piece reflects Endalyn’s interest in blending classical and contemporary vocabularies while creating an expressive, human-centered experience.
Throughout the episode, Endalyn also shares her perspective on the role of academia in the dance world, as both a space for experimentation and a bridge to the professional sphere.
About Endalyn Taylor Outlaw
Dancer, choreographer, and educator Endalyn T. Outlaw (née Taylor) is the dean of the School of Dance at UNCSA. She has held the positions of director of Dance Theatre of Harlem (DTH) School in New York — a company she joined in 1984, becoming a principal dancer in 1993 — and director of the Cambridge Summer Art Institute in Massachusetts. Her extensive administrative, artistic and academic career is steeped in ballet pedagogy and she has created an eclectic body of choreographic works.
Outlaw excels at restaging ballets, having performed many of the classics and having worked with luminaries in the field including DTH founder Arthur Mitchell, British-American ballet dancer and choreographer Frederick Franklin, director and choreographer of LINES Ballet Alonzo King, American dancer and choreographer Agnes de Mille, and director and choreographer of Garth Fagan Dance and “The Lion King,” Garth Fagan. She has performed on Broadway and stages all over the world, including as an original cast member of Tony Award-winning Broadway productions of “The Lion King,” “Aida,” and “Carousel.”
See “It’s the Thing with Feathers” by Endalyn LIVE in ChoreograpHER April 3-5, 2026
🎟️ madisonballet.org/choreographer
Join the conversation!
MBSP WEBSITE: https://www.madisonballetspecialprojects.com/
INSTAGRAM: instagram.com/madisonballetspecialprojects
UPCOMING MADISON BALLET PERFORMANCES: https://www.madisonballet.org/performances
Questions/comments? Email us at hello@madisonballetspecialprojects.com
Credits
COVER 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'
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 Andalyn Taylor Outlaw
00:00:40
Speaker
Welcome back to at The Bar with Madison Ballet Special Projects. My name is Chris Farenthold. I'm the director of Special Projects. And here i am joined today by Andalyn Taylor Outlaw, the Dean of Dance at University of North Carolina School for the Arts, a distinguished dancer and teacher and choreographer and stager, and also a choreographer in our upcoming mixed rep show, Choreograph Her at MyArts, April 3rd through 5th.
Andalyn's Early Dance Journey
00:01:12
Speaker
Thank you so much for joining us today, Andalyn. I really appreciate it. Thank you, Chris. I'm so happy to be here. It was really exciting to get to see you work in the studio the past couple days. And i want to talk about the piece that you've created on our company for the upcoming show. But before we get there, I was just curious a little bit about how did you first get involved in dance and what was your training like growing up?
00:01:37
Speaker
Yes. So my entry into dance was what I feel kind of an organic process once my parents figured out what to do with a naturally creative and unique experience. That I was even at a child's early, early age, I was always really comfortable being by myself and being allowed to just let my imagination take me many, many places, but then the comfort of my own home. Everything was a stage for me very early on. And music was just something that I naturally responded to, whether it was secular music or gospel music. I'm the daughter of two ministers So I grew up in church. So gospel music and spiritual songs were also very much a part of my life. But I really particularly loved classical music as a young girl.
00:02:44
Speaker
And growing up on the south side of Chicago, that wasn't necessarily something that I had in common with my peers. I also loved old musicals and television music. So the Ted Turner Network and those type of things, i loved watching Danny Kaye and Fred Astaire and Ginger Rogers and listening to those show tunes. So I think it was just naturally a part of my DNA and the actual transition into
00:03:16
Speaker
dance, and particularly ballet, came one day when i was over a friend of my mom's house who we were quite close with, and thankfully so, because on this particular evening when we were visiting, i think it was the Ed Sullivan Show, but it may have been the Tonight Show, had Tiny Tim as a guest and he was playing Tiptoe Through the Tulips on his ukulele. And I got on top of my mom's friend's table and just started doing this movement that she described as different from what you normally see, you know, in terms of social dance. And she was the one who suggested to my mom that she put me in ballet. And that was the beginning of a real connection for me.
Training at Mayfair and Ruth Page
00:04:04
Speaker
And what was your training like? Was it amidst jazz tap and others or were you Vaganova, Chiquetti? So my first school was the Mayfair Academy of Fine Arts and it was on the south side of Chicago and it was started by a well-known tapper, Tommy Sutton. So my first classes really were about an hour and a half and it included ballet, gymnastics, and tap, all in that hour and a half span.
00:04:34
Speaker
I later moved to studying at the Ruth Page School of Dance as a result of auditioning for the Nutcracker there, which was sponsored by the Chicago Tribune, the Ruth Page Foundation, and Larry Long was the choreographer, the stager of that work.
00:04:52
Speaker
And it was performed at the Aerie Crown Theater every year. So upon auditioning and first getting into the Nutcracker, it gave me an opportunity to then audition for Ruth Page School of Dance, where I trained and primarily a agan of a background. But Larry Long was just an amazing teacher who really did introduce to us, to Keddie and Bourneville and other disciplines as well.
00:05:17
Speaker
That's fascinating. And it does seem like every dancer passes through a nutcracker sometime early, right?
Shift from Dancer to Choreographer
00:05:23
Speaker
Yes. Well, on your way to becoming a professional dancer, both on Broadway and in ballet, when did the urge to choreograph or create sort of make itself known? Clearly, as you said, you were a creative kid and your parents recognized that.
00:05:41
Speaker
Have you been creating pieces as long as you've been dancing or did that come later? It definitely came later. After my studies in dance took me to summer intensives with Pennsylvania Ballet, and the Joffrey Ballet, and Dance Theater of Harlem, I auditioned for Dance Theater of Harlem and got into the company via an apprenticeship. and from there, really started to expand my vocabulary, dance vocabulary, and also just interest in movement and choreography. I had not done a lot of contemporary ballet. I had not done any classes in modern and or jazz. And As part of the summer intensive at Dance Theater of Harlem and the repertoire as an apprentice, I started to be introduced to more styles. The great Mary Hinkson from Martha Graham's company, she would come and teach. And so that was my first introduction into the Graham technique. And we had many guest faculty who would come in and teach us. And so that expansion of
00:07:00
Speaker
putting that type of information on my body did lead to a bit more of a curiosity of composing and and putting movement together. But I didn't really branch into choreography until well after my professional career as a dancer with Dance Theatre of Harlem. um In fact, I had moved on and done several Broadway shows and was seeking to kind of retire from performing and was offered the position first of community engagement director for Dance City of Harlem's program, Dancing Through Barriers. And I did that for a couple of years and at stopped dancing.
00:07:42
Speaker
and was then offered the position of the school director. And it was at that point when we started to cast and curate our spring performances, our annual spring performance for the school, which consisted of a community program, which had students as young as three years old, all the way up through our professional training program. I started to look at doing performances that had a thread and a connection and and wasn't just several individual dances with a lot of sequins and roughly costumes. I was desiring of something that would appeal to intergeneration so that families could come together and see and feel something recognizable. So I choreographed my first piece, which was the Ugly Duckling, which was a a nice story ballet.
00:08:39
Speaker
And from there, I choreographed several more of those for spring performances, although it also expanded out into having our faculty choreographed sections of those narrative story ballets as well.
Choreographic Inspirations
00:08:54
Speaker
And then i I started choreographing on the professional training program that I ultimately co-directed with Robert Garland, who is now the artistic director of Dance Theater of Harlem.
00:09:07
Speaker
So we shared many works through the professional training program that we created and did as part of a project with the Orchestra of St. Luke's.
00:09:18
Speaker
which was a wonderful opportunity for the triad community of students to come and see performances with live orchestration and new original works. And this was supported by the Jerome Robbins Foundation. So we got to really dive into creating some interesting pieces, some that were also story ballets and others that were more abstract.
00:09:43
Speaker
That's really cool. And it seems like having access to students of various levels that you have to build a program for seems like a good opportunity for the apprentice work of becoming a choreographer.
00:09:56
Speaker
Very much so. Yes. It's always a gift to be able to create. It's an easier process creating on polished professional dancers, but it is very rewarding and informative to do it, as you say, on different levels, different age groups, kind of meeting the students where they are. And I think that that really did build my skills in embracing that. The bodies in the room help to inform what it is you end up creating. So it is quite collaborative. To this day, I enjoy creating works based on who's in front of me. Even when I'm restaging works, such as the piece for Madison Ballet, there's something new and different about it because of the people that I'm gifted to interact with and what they bring to a process.
00:10:49
Speaker
I'm curious what the difference is in the act of creation versus the act of restaging. How much are you looking to take what the dancers are giving you in the new environment and incorporate that in? Or to what degree are you trying to make the restaged work resemble what was either first in your head or first on the stage back in your studio or home company?
00:11:12
Speaker
I think it really does depend once you get into the environment and learn about the dancers that you're working with. Creating in and a space where you know the students or the dancers well, you already have a sense of what they do or what they don't do and what you'd like to bring out of them.
00:11:32
Speaker
When you're coming into a space with new bodies, you know less about that. So you do come in with some ideas of what you want to maintain about a piece, but with flexibility to see how that can either expand or be edited to really fit the new emotions and the new level of experience or the the level of maturity.
00:11:59
Speaker
or quite practically the number of male body dancers you have to the number of female body dancers that you have, right? So all of these things really do impact how much editing or expansion of the work I try to allow myself to be able to do.
00:12:17
Speaker
It's a luxury for me. I feel like a piece gets to continue to live and breathe. And I never want it be the same experience, even if the steps are quite similar, because I want people to feel like their individuality really matters and shapes a work as opposed to putting on something of someone else's.
00:12:41
Speaker
If you had to sort of say what choreographers you've been influenced most by, or that you've had greater rapport with, you know, as you've been going through your career, what would those influences be? Who led you to creating your own voice? That's a great question. There are so many people who have inspired me over the years in terms of choreographers. The ones that immediately come to mind is George Balanchine. And I confess to always having a tiny little bit of a George Balanchine movement in everything I've ever done, whether it's very classical or very contemporary or some hybrid of the two. So I was quite influenced by his ah ability to marry jazz and modern and ballet and own that He was inspired by the different influences of cultures and people around him, which he talked to quite a lot about when he came to America and started choreographing and kind of created neoclassical work. It was inspired by all of these other art forms and disciplines. So I very much admire and have felt his presence in my choreography. But Forsythe, of course, William Forsythe, John Elaine is a choreographer who was the director of a company in Canada for many years, came and set a beautiful work DTH and was my first experience with a
00:14:17
Speaker
contemporary ballet that really did pull from what he saw us doing around the room. So there was never downtime. That's what I discovered from working with him. Because many times we would just be playing on the side or even just putting on a new pair pointe shoes and doing a movement with, and he would say, bring that out into the center. And that became a part of the process. He's another one who has inspired me greatly.
00:14:47
Speaker
i am quite the fan of Jessica Lange, old school choreographers, you know, classic icons of Twyla Thark also. So it really ranges quite a lot for me.
00:15:01
Speaker
i think current choreographers, Chris Wilden does beautiful work, Ana López Ochoa. It's another one who I'm moved and impressed by her work. And then there's a choreographer. she was the resident choreographer for Atlanta Ballet for a while, Claudia Schreier.
00:15:21
Speaker
I love the kind of new canon that is kind of developing as I'm asking various choreographers who they're inspired by and certain names keep coming up. It's wonderful to see that the art form itself is moving forward with a sense of tradition, but innovation, you know, at the same time.
00:15:39
Speaker
Are you looking for a night out that blends art, ideas, and great conversation? Join Madison Ballet Special Projects on Thursday, March
Event Promotion: Ballet Salons at Leopold's
00:15:49
Speaker
26th for At the Bar, Ballet Salons at Leopold's.
00:15:53
Speaker
Set in the cozy, book-lined charm of Leopold's Book Spa Cafe on Regent Street, this free salon series brings you behind the scenes of the ballet world. Hosted by Chris Ferenthal, each evening features an intimate conversation with a special guest. Our featured guest for the month of March is the brilliant Chloe Angel, journalist and author of Turning Point, How a New Generation of Dancers is Saving Ballet from Itself.
00:16:18
Speaker
She's also the brains behind the wildly popular ballet-inspired romance novels Pot-a-Don't, Point of Pride, and Bar Fight. From sharp insights about the future of ballet to swoon-worthy backstage drama, Chloe brings passion, wit, and a fresh perspective you will not want to miss.
00:16:35
Speaker
This event is free and open to the public, so come early, grab a drink, and get up close with the world of dance at Leopold's. Visit our website, MadisonBalletSpecialProjects.com, to learn more.
00:16:48
Speaker
I'm curious also how you find being in an academic dance department versus having spent your life in companies.
00:16:59
Speaker
Is it a different perspective on dance culture or the dance world that you feel like you have? Is it more of a stewardship perspective? or education kind of context? Or is it, you know, in this world where arts funding and institutions are seemingly, you know, crumbling around us, our academic departments, places where you can kind of hopefully build a wall and be able to create safety for your creative process, as opposed to being out there and the company realm?
00:17:30
Speaker
Yeah, you know, I do believe that In my journey within academia, starting first at the University of Illinois and a research one university where experimenting and doing research that allowed me to expand my own comfort zone around notions of what ballet can do as opposed to what it can't do and what body should be doing it and how. It should be presented in choreography. I think during that time and in that process, academia felt like a safe space for me to take risk and create a new language and vocabulary for myself and therefore have an opportunity to demystify the art form for others, to make it more of a welcoming place that seemed possible for more than just the stereotypical or the traditional norm.
00:18:35
Speaker
Transitioning and moving into my deanship at the University of North Carolina School of the Arts really has been a marriage of my time at a research one university where ballet was something that was needed honing and shifting so that it could feel more welcoming to the community back to a place where the focus is on training, rigor, and the standards of ballet as well as contemporary. It was a marriage of my former time at Dance Theatre of Harlem and this new perspective on dance. so
00:19:21
Speaker
It feels different from being a wall in a safe space to being an opportunity to honor tradition, but push and innovate and create opportunities for students who will be moving into the professional world to not just feel like they have a place in it as it exists now, but for them to innovate and continue it forward so that more people will find their way into the art form.
00:19:51
Speaker
You know, we know that the industry is, will always be challenged by budgetary needs and funding and and all of the things that are so vital to the arts continuing. But I think we also know that without innovators and pushers and those people who aren't afraid to create yeses where no's exist are so important. So I think that's what the stewardship is now at the University of North Carolina School of the Arts.
00:20:24
Speaker
That's really beautifully put. At Madison Ballet, I believe we have a couple of UNCSA connections. Yes. The dancing contingent and also our rehearsal director, I believe, alum. So transitioning to the company, how did you connect with Jamalik and how did he bring your work to Madison Ballet?
Connection with Madison Ballet
00:20:44
Speaker
I would venture to say that Jamalik and I have orbited around one another in the dance circles. You know, the dance community is small and I do really feel that it's less than six degrees of separation. And it's the alumni who are currently in Madison Ballet, Dana and Antony, kind of reconnected me to or officially connected me to Jamalik. I was really grateful for his taking them under his wing and giving them this opportunity to start to bud and nurture their professional journeys. One of the best gifts that a dean or an instructor can have is when their students
00:21:32
Speaker
move into the professional realm and then they move into a place that is an environment that is going to support their growth. And that has always felt like what Jamalik has been doing here at Madison Ballet based on what the company members say about him. what our alums were saying, and just based on the work that you see being done here. So that was our opportunity to reconnect. And I knew that he had done some work at UNCSA prior to my being there. I believe he was a part of our Choreographic Institute. And I also believe that during COVID, he did some virtual work. So I thought it would be a great opportunity to have him come and and set something. on our students at this time and also look at some of our dancers potentially to move into the training program or the company at a future time. And he then mentioned that he has this program that happens every year called Choreographers and asked if I would be interested in participating. So it was kind of a cyclical opportunity.
00:22:46
Speaker
It's funny how I'm realizing the dance world for being a truly international you know network is still kind of small. You're right. Everyone seems to be a few few steps removed from others if you dance long enough. Either you dance with or for someone, pass through the same competitions or summer intensives. It's really funny.
Themes of 'It's the Thing with Feathers'
00:23:05
Speaker
So specifically the piece that you have brought to us, It's the Thing with Feathers. Can you tell us something about the creative impulse that led you to that? And if it didn't premiere or won't premiere here, what was its genesis?
00:23:20
Speaker
Yeah, so It's the Thing with Feathers premiered this past spring at UNCSA with students from our contemporary program. And it is a piece that is very much a hybrid movement. There is one section that is in pointe shoes. but the other sections are done in either ballet slippers or socks. I really feel as though the movement for me is almost another character or person in the piece because each section, we reference them by being some either person or an entity. So very much a specific type of feeling of weight or likeness. And that is because the genesis of the piece really is around hope. And the title, It's the Thing with Feathers, is just a play on the poem that it was inspired by, which is Hope is the Thing with Feathers by Emily Dickinson.
00:24:24
Speaker
And i wanted to create a work at a time when hope was something that I was really pulling on for any number of reasons. Personal reasons, professional reasons, and just being a part of humanity at a time when it felt as though hope was a good thing for us to unite around and create a piece about. Ultimately, I would love to expand the work into an evening where there's also a movement around love and a movement around faith.
00:25:02
Speaker
which, I mean, these are constant stabilizers in my life. And so felt that if I could find some catharsis and therapy in creating the piece, maybe it would be that for the people who are doing it and anyone who would have a chance to see it.
00:25:19
Speaker
Well, it is a beautiful piece and it is, i would say, varied in its energies, although there is a cohesiveness to it. So can you tell us a little bit about the music that you've set your movement to?
00:25:31
Speaker
Yes, certainly. And thank you for that. The music is by Neil Fromm's and the title is Toilet Brushes, which is an unusual title, but it is because in the first section of the music, he actually uses toilet brushes as the percussive. instrument against the keys of ah the piano. So that is that is why it is titled what it is.
00:25:58
Speaker
There is no other relationship to it in the music, I think, but it's incredibly powerful. And as you say, quite varied where at times it's just a cacophony of loud percussive music that juxtaposes against itself. And other times it's quite beautiful and lyrical and obviously threaded. To me, it kind of epitomized what hope is. Hope doesn't look like any one thing at any one time in your life. You know, sometimes hope is something that really is driving and powerful because you need it to be that. And other times it is quiet and calm and kind of underneath the surface of other things that you are experiencing and doing and relying on. So I thought a lot about over time what hopefulness was to me.
00:26:52
Speaker
As an artist, you audition a lot in your life and you wait to hear if you get a job. You wait to be validated in so many ways. And so you're hoping that you get the job. You're hoping that you'll hear soon. And other times your hope is around other things, you know, things that are lighter or things that are more personal.
00:27:16
Speaker
I feel like every day is filled with some version of hope. And so it is broad and varying in what it looks and feels like. And so that's why the movement is so varied.
00:27:29
Speaker
There are many places in the piece where the movement is very grounding. and waited. There are other times when it is almost effervescent or elusive. It's there and then it's gone. So that was the impetus to the movement.
00:27:46
Speaker
That's wonderful. And you've also gone, I think, a long way toward answering my next question, which would be something like, what can an audience member who's just walking into the piece on April kind of expect from it in terms of, if not a story or necessarily a point A to point B, what is happening over the course of the piece through its musical movements? If you want to fill in a little more about that, but I think you really did kind of get there with the varied, i guess, seasons of hope.
00:28:15
Speaker
Thank you. Yes, I think what they will see is movement that they maybe would not categorize as any one particular thing.
00:28:29
Speaker
My background in classical ballet definitely is present and you will see it very clearly in one movement. But as I mentioned, I'm inspired by a number of choreographers. I'm inspired by a number of disciplines and styles. I have two boys and one is a dancer, a world champion break dancer, and I'm inspired by his movement. I am in awe of it and afraid of it, but there are references of that in here as well. So I think you'll see kind of a tapestry of different styles of movement, really not trying to
00:29:08
Speaker
merge and become one thing, but really live individually in a seamless way, much like the community of the dancers. So much of the piece is group work. And I wanted the dancers to really get in touch with leaning in and catching each other's breath as they move together and think about what hope looks like for community. But also there are these individual moments for Each dancer, each dancer has a standout step out moment to represent the individual hopes that we have as humans as well.
00:29:45
Speaker
So they should see this trajectory of community moving together and then individual moments and step outs. And speaking of that community of dancers, I really did enjoy in your studio practice, seeing first of all, that you created an environment for the check-in, both physical and mental, on where people were, where I think they could be honest and candid about either you know physical limitations on the day. And that then led you had them do a bit of a communal induction before they got started. Could you tell me a little bit about that? And is that something that you do with each piece?
00:30:22
Speaker
You know, it is something that I've started to do more recently. And I think that's because as artists, we really, from my generation, we weren't really encouraged so much to speak. We did what we were asked to do and that was fine. But I think we are...
00:30:44
Speaker
becoming more aware of the need for agency in our artists to be real about what they are feeling. And without that taking away from the fact that they are still going to work hard, that they can still be disciplined, but they can just be mentally and physically Respect it for their their opinions. It is their bodies. They should check in. They should have the right to check in and and also say, this is where I am in this moment without it somehow reflecting on their lack of dedication to a work.
00:31:23
Speaker
You know, mental and physical well-being is something that we are more, I think, mindful of. And therefore, I think the opportunity for them to check in really is, it only strengthens a piece when people feel that they are respected and trusted, then they give you everything they can when they can. And for me, that's enough.
00:31:44
Speaker
Yeah, it was really beautiful seeing them, you know, together in a circle, just talking to themselves essentially before the curtain goes up. I wonder if when, you know, I call places from the weighing on the day, if if that will now be part of that piece for them. i hope so. It was it was really nice.
Advice for Aspiring Dancers
00:32:00
Speaker
I hope so too. And you never know how a community is going to take that moment. I've seen dancers come together and be very serious or just be silent and just have a moment of reflection. I've quite enjoyed the fact that humor and joy has been very much a part of the circles that they've done because they've done it more than a few times now. We should embrace the fact that humor and joy does not remove the commitment. Sometimes it makes space for it to come out and flourish.
00:32:34
Speaker
I feel like that's the pull quote of the episode, movie but I love that. Something to underline. Yeah. Well, before we wrap up, I did want to ask, since you've had pretty much the whole spectrum of kinds of career you can have in dance, are there any pieces of advice you can think of that you would offer to a dancer who might think they may want to make a turn toward choreography or administration or anything else during or after their dancing career?
00:33:02
Speaker
I would say to always, always give yourselves the option to be within whatever it is that you love in myriad ways. There's no one way to be in dance.
00:33:17
Speaker
There are opportunities and really necessary to have people who are performers, who are educators, who are the innovators, who are the creators of new work, who are the preservers of old works. I mean, that's a huge responsibility as well. And who become leaders, who set the stage for the way the art form moves on and and continues to live. But never to look at it as a concession. If one doesn't work out, don't see it as a failure. I say something often to students when I'm advising them to always look at your next plan as not the next B or C or D, but the next plan a So every plan is a plan A and it's not a failure. Learn something from each opportunity, whether it goes the way you wanted it to or not.
00:34:14
Speaker
Well, that's wonderful advice. And thank you so much for joining us on the podcast. It's been a pleasure. I love talking dance and you've been an absolute joy. I encourage everyone to come see Andalyn's work among the rest of the program as well at Choreograph Her at April 3rd through 5th at My Arts.
00:34:33
Speaker
And with that, I wish you safe travels back to North Carolina. And I've so enjoyed seeing you in the studio. Thank you.
00:34:43
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.
00:34:58
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.
00:35:09
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.
00:35:24
Speaker
Thanks again for listening. We hope to see you at the ballet soon.