ANNOUNCER: TONIGHT ON SHOWCASE WITH BARBARA KELLAR, POLINA BESPALKO INTERVIEWS LARRY KELLAR ON CINCINNATI BALLET.

STAY TUNED, SHOWCASE STARTS RIGHT NOW.

(MUSIC) BESPALKO: HELLO AND WELCOME TO SHOWCASE WITH BARBARA KELLAR.

YOU MIGHT BE WONDERING WHERE THE SHOW'S NAMESAKE IS, BUT THE PRODUCERS THOUGHT IT COULD BE INTERESTING TO EXPERIMENT WITH TODAY'S EPISODE.

MY NAME IS POLINA BESPALKO AND I WILL BE SITTING IN FOR BARBARA ON THIS WEEK'S SHOWCASE.

WITH CINCINNATI BALLET BEING A HOT TOPIC IN THE LOCAL NEWS LATELY, IT IS ONLY FITTING TO FEATURE LARRY KELLAR, BARBARA'S HUSBAND, ON THE SHOW.

BUT THAT'S NOT THE ONLY THING THAT SHOWCASE HAS PREPARED FOR YOU.

NEXT WEEK, BARBARA WILL BE BACK TO TAKE YOU ON A SPECIAL AND VERY EXCLUSIVE TOUR OF THE NEW CINCINNATI BALLET HOME.

BUT FOR NOW, LET'S MEET AND LEARN MORE ABOUT A WONDERFUL MAN BEHIND THE SCENES, LARRY KELLAR.

HELLO, LARRY.

KELLAR: THANK YOU, POLINA.

IT'S NICE TO BE HERE WITH YOU.

BESPALKO: IT'S A PLEASURE AND IT'S AN HONOR TO BE HERE WITH YOU, TOO.

KELLAR: THANK YOU.

THANK YOU.

BESPALKO: YOU HAVE A VERY IMPRESSIVE BACKGROUND IN BUSINESS, FROM RECEIVING YOUR MBA FROM UNIVERSITY OF VIRGINIA, TO MANY YEARS WORKING WITHIN HIGH LEVEL POSITIONS IN KROGER'S COMPANY.

WHERE DOES YOUR SOFT SPOT FOR THE ARTS STEM FROM?

KELLAR: WELL, I GUESS IT PROBABLY STEMS ORIGINALLY FROM MY MOTHER, WHO WAS OUR CHURCH ORGANIST FOR 45 YEARS, AND SHE MADE US ALL TAKE PIANO LESSONS.

BESPALKO: I DIDN'T KNOW THAT.

KELLAR: BEING THE YOUNGEST I GOT OUT OF SOONEST.

BUT ANYWAY, MY BROTHER BECAME A MUSIC PROFESSOR AND HE WAS THE ONE THAT GOT ME INTERESTED IN CLASSICAL MUSIC.

AND HIS DAUGHTER, INCIDENTALLY, IS HEAD OF THE ADMINISTRATION FOR THE MINNESOTA ORCHESTRA.

SO IT'S JUST KIND OF NATURAL FOR THE KELLAR FAMILY; OPERA, SYMPHONY, BALLET.

IT'S FUN.

BESPALKO: WONDERFUL.

WELL, CINCINNATI HAS A VARIETY OF RENOWNED ARTISTIC AND CULTURAL COMMUNITIES.

AS SOMEONE NOT ORIGINALLY FROM CINCINNATI, HOW DID YOU COME ACROSS CINCINNATI BALLET FOR THE FIRST TIME?

AND WHAT MADE YOU DECIDE TO STAY AND DEDICATE YOUR TIME AND ENERGY TO THAT PARTICULAR ORGANIZATION?

KELLAR: WELL, POLINA, IT ALL STARTED WITH THE BALLET SPONSORING A TRIP TO RUSSIA IN 1973, AND I WANTED TO GO TO RUSSIA IN THE WORST WAY AND I MANAGED TO GET ON THE TRIP.

IT WAS A VERY EXPENSIVE TRIP.

I THINK FOR THE WHOLE THING, INCLUDING AIRFARE, HOTEL, AND FOOD WAS $895.

IT WAS A FABULOUS TRIP.

AND THERE WERE MAYBE 40 PEOPLE AND MANY OF THEM AFFILIATED WITH THE BALLET IN ONE WAY OR ANOTHER.

AND SO NOT LONG AFTER WE RETURNED TO THE STATES, THEY CALLED AND RECRUITED ME, PROBABLY BECAUSE I WAS A KROGER EMPLOYEE AND THEY THOUGHT MAYBE KROGER MIGHT CONTRIBUTE TO THE BALLET.

BUT THAT WAS MY INTRODUCTION TO THE CINCINNATI BALLET.

AND I'D NEVER SEEN A BALLET BEFORE I WENT TO RUSSIA, AND IT WAS GREAT.

WE SAW THE KIROV AND THE BOLSHOI.

BESPALKO: OF COURSE.

KELLAR: WHAT ELSE?

BESPALKO: MAY I ASK WHY DID YOU WANT TO GO TO RUSSIA SO BADLY?

KELLAR: WELL, IT WAS -- NOBODY WAS GOING TO RUSSIA, AND OF COURSE, IT WAS THIS PLACE THAT WE HAD THIS KIND OF CLASH WITH ALL THE TIME, AND IT JUST SEEMED LIKE AN ADVENTURE.

AND IT WAS AN ADVENTURE, I MEAN, I GOT PEOPLE WHO WANTED TO TRADE MONEY WITH ME ON THE STREET TO THE BLACK MARKET.

SO IT WAS A FABULOUS TRIP.

I CAN'T IMAGINE.

BESPALKO: YOU WERE INSPIRED ARTISTICALLY?

KELLAR: YES.

YES, ABSOLUTELY.

BESPALKO: THAT'S WONDERFUL.

SO HOW DID CINCINNATI BALLET LOOK LIKE WHEN YOU JOINED THE BOARD IN 1977?

GIVEN THE DELICATE FINANCIAL SITUATION OF THE BALLET AT THE TIME, HOW DID YOU GO ABOUT MAKING CHANGES?

KELLAR: WELL, ACTUALLY, AFTER I JOINED THE BOARD, IT WAS WITHIN SIX MONTHS IT WAS OBVIOUS THAT THE BALLET WAS GOING BANKRUPT.

THEY HAD JUST STARTED THE NUTCRACKER, WHICH WAS A TREMENDOUS SUCCESS.

AND OF COURSE, THEY HAD THE SPONSORSHIP OF FRISCH'S AND THEY MADE MONEY ON THE NUTCRACKER AND REALLY LIVED OFF OF THAT FOR THE REST OF THE YEAR.

BUT THEY NEEDED CONTRIBUTED INCOME AS WELL, AND NOBODY WAS DOING ANYTHING.

THERE WAS NO ORGANIZATION.

THERE WAS NO NOTHING THAT WAS HAPPENING.

SO I DECIDED, WELL, THAT WAS SOMETHING THAT I COULD DO.

SO I BEGAN TO TAP OTHER BOARD MEMBERS TO HELP ME A LITTLE BIT OR TAP THEM FOR THEIR OWN CONTRIBUTIONS.

AND IT'S SORT OF WHEN YOU CAN RAISE MONEY, YOU GET PROMOTED VERY FAST IN THE ORGANIZATION.

SO I BECAME PRESIDENT, I THINK A COUPLE OF YEARS AFTER THAT.

BUT IT WAS A PRIMARILY A QUESTION OF RAISING FUNDS.

AND THE BALLET WAS KIND OF A MINOR ORGANIZATION IN THOSE DAYS.

BESPALKO: I SEE.

KELLAR: AND WE REALLY CAME INTO OUR OWN.

I MEAN, WE HAD WONDERFUL SUPPORTERS: LISA NIPPERT AND JEAN SANGER AND SKIP FLEISCHMAN AND PEOPLE LIKE THAT.

BUT IT WAS A STRUGGLE.

AND WE FINALLY CAME INTO OUR OWN WHEN, PROBABLY AS THE RESULT OF P&G COMPLAINING THAT THEY WERE SOLICITED BY ALL THESE MINOR ORGANIZATIONS SO OFTEN.

THEY KIND OF INSISTED THAT THE FINE ARTS FUND, AS IT WAS KNOWN THEN, TAKE IN IN ADDITION TO THE FOUR ORGANIZATIONS THAT BELONGED, FOUR NEW ONES, INCLUDING THE BALLET.

MORLEY THOMPSON WAS THE HEAD OF THE FINE ARTS FUND, AND HE GAVE THE LEADERSHIP TO THAT EFFORT.

AND IT WAS SUCCESSFUL.

THEY RAISED MORE MONEY AND WE WERE FUNDED.

AND THE STABILITY OF HAVING THAT HELP FROM THE FINE ARTS FUND WAS REALLY WHAT STABILIZED THE BALLET.

NOT THAT WE DIDN'T HAVE FINANCIAL PROBLEMS AFTER THAT, BUT IT GAVE US A SOUND FOUNDATION AND WE WERE ABLE TO KIND OF BUILD AND EXPERIMENT.

DAVID MCLAIN, OUR ORIGINAL ARTISTIC DIRECTOR, USED TO SAY THAT THE ONLY THING HE HATED ABOUT THE BALLET IS THAT OUR FINANCES WERE SO TENUOUS THAT HE NEVER HAD AN OPPORTUNITY TO EXPERIMENT WITH ANYTHING.

SO, YOU KNOW, WE DID A FEW THINGS AFTER THAT.

A COUPLE OF THEM WE SHOULDN'T HAVE, BUT WE DID IT.

BESPALKO: YOU LEARN, RIGHT?

KELLAR: RIGHT.

BESPALKO: SO LET ME SUMMARIZE.

YOU CAME TO THE BOARD.

THERE'S VERY LIMITED RESOURCES, LIMITED AMOUNT OF PERFORMANCES, LIMITED SPACE.

HOW DID YOU BALANCE APPROACHING CINCINNATI BALLET BETWEEN APPROACHING IT AS A BUSINESS ORGANIZATION AND AS AN ARTISTIC ONE?

HOW DID YOU FIND THAT FINE LINE WHERE YOU DIDN'T LOSE CREATIVITY, YET BROUGHT A LOT OF BUSINESS PERSPECTIVE INTO THE COMPANY?

KELLAR: I WAS PROBABLY FORTUNATE IN DAVID MCLAIN BEING THE ARTISTIC DIRECTOR WHEN I JOINED BECAUSE I APPROACHED IT STRICTLY FROM A BUSINESS STANDPOINT AND A FINANCE STANDPOINT.

I HAD NO SIGNIFICANT INPUT INTO THE -- NOR DID I -- WOULD HAVE BEEN APPROPRIATE.

SO WE, YOU KNOW, ANNUALLY WE WOULD WORK OUT A BUDGET AND HE WOULD SUGGEST WHAT HE NEEDED AND I'D SUGGEST WHAT HE COULD HAVE.

I'D GENERALLY WIN THOSE, BUT -- BESPALKO: I SEE.

KELLAR: AND HE WAS THE KIND OF PERSON THAT COULD ADAPT, ADJUST.

AND, YOU KNOW, LITTLE BY LITTLE, WE BUILT IT.

BESPALKO: SO IT WAS A COLLABORATION BETWEEN A BUSINESS MIND AND A CREATIVE MIND.

KELLAR: THAT'S RIGHT.

AND A TRUE COLLABORATION, YES.

BESPALKO: THAT'S WONDERFUL.

SO I'M CURIOUS TO KNOW IF YOU WOULD HAVE TO CHOOSE TO BE A ONE CHARACTER FROM A FAMOUS BALLET THAT WOULD DESCRIBE YOUR PERSONALITY AT ITS BEST, WHO WOULD YOU BE AND WHY?

KELLAR: (LAUGHS) WELL, THAT'S A TOUGH ONE.

THE ONLY CHARACTER I CAN THINK OF OFFHAND WOULD BE THE PRIEST IN ROMEO AND JULIET.

BESPALKO: WHY IS THAT, LARRY?

KELLAR: WELL, BECAUSE IT'S A NON PERFORMING PART.

BESPALKO: I SEE, THAT'S A WONDERFUL ANSWER.

BACK TO SERIOUS QUESTION, GIVEN THE INCREDIBLE COMPLEXITY OF ANY ARTISTIC ORGANIZATION, ESPECIALLY CBC, AND UNIQUE CHARACTER OF IT, HOW DID YOU MANAGE TO BALANCE YOUR ROLE WITHIN THE ORGANIZATION WITH YOUR OTHER CAREER OBLIGATIONS AND GOALS?

WHAT DROVE YOU?

KELLAR: IT WAS, YOU KNOW, BEING INVOLVED WITH THE BALLET AT THAT TIME WAS LIKE SORT OF LIKE RUNNING YOUR OWN BUSINESS.

BESPALKO: YES, I REALIZE THAT.

KELLAR: INDIVIDUAL ENTREPRENEUR.

AND WHEREAS I LOVED MY JOB AT KROGER, I WAS PART OF A LARGE ORGANIZATION AND TEAM.

BUT HERE IN THE BALLET, I COULD HAVE AN IMMEDIATE IMPACT AND IT WAS VERY SATISFYING.

AND AT THE SAME TIME, I LOVED MY JOB.

FORTUNATELY, KROGER WAS VERY -- THEY DIDN'T NECESSARILY ENCOURAGE ME, BUT THEY WERE PERMISSIVE IN THE SENSE THAT THEY KNEW I WAS SPENDING SOME TIME WITH THE BALLET THAT PROBABLY I SHOULD HAVE BEEN SHACKLED TO MY DESK.

BUT IT WORKED OUT WELL, I THINK.

BESPALKO: IT ALSO MAKE YOU HAPPY, PROBABLY.

KELLAR: IT MADE ME HAPPY, MADE MY FAMILY HAPPY, AND I THINK PROBABLY ENHANCED MY ABILITY TO DO MY JOB AT KROGER.

BESPALKO: THAT'S WONDERFUL.

SO THE ARTISTIC PART WAS IMPORTANT TO YOU WAS IN THE COMPANY AS WELL.

KELLAR: WELL, THAT'S TRUE.

BESPALKO: IN YOU PRIMARY JOB.

INTERESTING.

YOU KNOW, BACK TO A QUESTION ABOUT WORKING WITH A FAMOUS STARS.

I KNOW THAT OVER YEARS YOU HAD SHARED WITH ME SOME PHENOMENAL PICTURES OF YOU SURROUNDED BY AN INCREDIBLE, FAMOUS AND WORLD RENOWNED BALLET ARTISTS.

YOU'VE COLLABORATED WITH FAMOUS PERFORMERS SUCH AS MAYA PLISETSKAYA, WHO IS A PRIMA BALLERINA AT THAT POINT IN THE USSR AND STILL A LEGEND IN RUSSIA; WITH MIKHAIL BARYSHNIKOV, WHO AT SOME POINT SERVED AS AN ADVISORY BOARD MEMBER, WAS VERY CONTROVERSIAL; MICHAEL MISURARE; WITH ALEXANDER GOLUNOV; AND WITH MARGOT FONTAINE, JUST TO NAME A FEW.

WHAT IS YOUR FAVORITE MEMORY FROM WORKING WITH THOSE ARTISTS?

AND WHAT DROVE YOU TO BRING THIS INCREDIBLE TALENT TO CINCINNATI?

WHY DID YOU CHOOSE TO BRING THAT THE BEST?

KELLAR: WELL, BARYSHNIKOV IS THE FIRST ONE I'LL MENTIONED.

OF COURSE, HE WAS VERY, VERY POPULAR AT THE TIME AND APPROPRIATELY SO, A GREAT PERFORMER.

SO WE WANTED HIM TO COME TO CINCINNATI AS A FUNDRAISER SO WE COULD -- AND WE MANAGED TO SECURE HIM AND HE CAME.

AND HE CAME RIGHT AT THE TIME THAT STANLEY ARONOFF, WHO WAS THE SENATOR IN CHARGE OF ONE OF THE COMMITTEES, I THINK THE FINANCE COMMITTEE OF THE OHIO SENATE, HAD JUST GOTTEN A VERY, VERY SIGNIFICANT INCREASE IN THE STATE OF OHIO'S APPROPRIATION OF THE ARTS.

SO THE NIGHT THAT BARYSHNIKOV PERFORMED, THE AUDIENCE WAS JUST, I MEAN, THEY WERE REALLY SEETHING ALMOST, IN THE POSITIVE SENSE.

BUT WE ANNOUNCED THAT STAN HAD JUST GOTTEN THIS BIG APPROPRIATION.

AND THE AUDIENCE WAS SO KEYED UP, THEY GAVE HIM A FIVE MINUTE OVATION.

THE POOR GUY HAD TO STAND THREE TIMES IN ORDER TO ACKNOWLEDGE IT.

BUT IT JUST SHOWS THE OVERPOWERING INFLUENCE OF THE ARTS WHEN THERE'S SOMETHING REALLY EXCITING HAPPEN.

AND SO I REMEMBER THAT.

I REMEMBER GOING IN NEW ORLEANS, GOING TO -- WE HAD A JOINT VENTURE WITH NEW ORLEANS AT ONE TIME.

IT DIDN'T WORK OUT SATISFACTORILY.

BUT ON ONE OCCASION IN NEW ORLEANS, WE HAD FREDDIE FRANKLIN, WHO IS CMB, COMMANDER OF THE BRITISH EMPIRE NOW, YEAH, AND FONTAINE WERE THERE.

AND WE WERE INVITED ONE NIGHT OUT TO THIS GENTLEMAN'S HOUSE.

AND HE HAD CALLED THE BALLET THERE AND SAID HE WAS AN OLD FRIEND OF FREDDIE'S AND MARGO.

SO WE WENT OUT THERE.

IT WAS KIND OF A NOT VERY EXCLUSIVE AREA.

QUITE THE CONTRARY.

IN FACT, HE HAD POLICEMEN OUT THERE, TOO.

ONE OF THE OLD SHOTGUN HOUSES.

AND SO WE HAD A NICE EVENING.

AND SO ALONG THE WAY, ONE OF OUR PARTIES SAID TO FREDDIE, "IT WAS SO NICE OF YOUR FRIEND TO INVITE US HERE TONIGHT."

HE SAID, "MY FRIEND?

I DON'T KNOW THIS GUY.

THIS IS THE FIRST TIME."

SO ANYWAY, SHOWS THAT PEOPLE IN NEW ORLEANS, I GUESS, ARE INNOVATIVE WHEN IT COMES TO ENTERTAINMENT, PARTICULARLY.

BUT THOSE -- THE OTHER THING I REMEMBER THAT'S SO MUCH FUN IS WHEN DANILOVA, ALEXANDRIA DANILOVA WOULD COME TO TOWN.

SURAH, SHE AND FREDDIE FRANKLIN, IF THE TWO OF THEM HAPPENED TO BE AT A DINNER PARTY TOGETHER, FREDDIE WAS THIS GREAT RACONTEUR AND THE TWO OF THEM WOULD EXCHANGE MEMORIES OF THEIR CAREERS TOGETHER WITH THE BALLET RUESS AND BEFORE THAT.

AND THEY WERE HILARIOUS.

AND OF COURSE, WE HAD SOME -- CINCINNATI HAD INDIRECT LINK TO THE BALLET RUESS IN THAT JULES FLEISCHMAN, SKIP'S FATHER, HAD FINANCED OR UNDERWRITTEN THEIR U.S. TOURS FOR MANY YEARS.

AND SO WE MANAGED TO GET FREDDIE AND SURAH HERE FREQUENTLY.

AND IT WAS WONDERFUL FOR THE BALLET, THE DANCERS, OF COURSE, RESPOND TO THAT.

BESPALKO: IT IS TRULY AMAZING.

YEAH, I HAVE MY MEMORY OF THE PICTURE WHERE YOU ARE WALKING WITH MAYA PLISETSKAYA, AND, YOU KNOW, I THINK IT'S VERY GRANDIOSE WHEN YOU'RE TOGETHER OPENING, I THINK IT WAS AN OPENING OF A GALA WHERE YOU ACCOMPANY HER INTO A RECEPTION.

MAYA PLISETSKAYA FOR ME IS A LEGEND, IS TRUE LEGEND.

AND KNOWING YOU AND NOW THERE'S ANOTHER SPECIAL CONNECTION.

LARRY, WHEN YOU'RE WATCHING CINCINNATI BALLET PERFORMANCE AS A PART OF THE AUDIENCE AND YOU'RE SURROUNDED BY, YOU KNOW, SPARKLING EYES, SMILES, REACTIONS, HOW DO YOU FEEL ABOUT SEEING YOUR EFFORTS, CULMINATING IN A FINISHED PRODUCT ON STAGE?

KELLAR: I GUESS, HONESTLY, I DON'T THINK ABOUT IT.

I LOVE BALLET, AND I THINK ABOUT WHAT'S ON THE STAGE AND WHETHER I LIKE IT.

AND FOR YEARS I THOUGHT THERE WAS NOTHING LIKE CLASSICAL BALLET.

AND FOR THE MOST PART, CINCINNATI BALLET PERFORMED CLASSICAL BALLETS.

WE WOULD PERFORM STORY BALLETS, THE NUTCRACKER.

THERE WOULD BE OTHER BALLETS, SHORT ONES THAT WE MIGHT PUT TOGETHER IN THE PROGRAM, BUT BASICALLY THE STORY BALLETS WERE THE ONES THAT WERE THE MONEYMAKERS AND SO ON AND SO FORTH.

SO AFTER VICTORIA MORGAN CAME, I TOLD HER I DIDN'T LIKE MODERN DANCE AND I CALL IT FLOOR GROVELING.

BUT SHE'S CONVINCED ME OVER THE YEARS THAT IT CAN BE REALLY VERY ENTERTAINING AND BEAUTIFULLY DONE.

SO WE HAVE A NICE COMBINATION NOW AT CINCINNATI BALLET.

BESPALKO: YES, TRULY.

KELLAR: AND I'M JUST -- MY THOUGHT GOES TO WHAT I SEE ON THE STAGE.

BESPALKO: SO YOU'RE COMPLETELY LOSING YOURSELF IN THE ART FORM WITHOUT THINKING THAT THIS IS YOUR BABY?

THAT'S RIGHT.

THAT'S RIGHT.

BESPALKO: THAT'S WONDERFUL.

IT'S PART OF THE ARTS, RIGHT?

KELLAR: IT'S A LOT OF OTHER BABIES TOO -- A LOT OF OTHER PEOPLE'S BABIES, TOO, BESPALKO: OF COURSE.

SO WHEN I WAS DOING MY RESEARCH, I CAME ACROSS THIS NEWSPAPER ARTICLE FROM 1993 BY JODY GRISMORE VANCE OF PRESS COMMUNITY NEWSPAPERS WHO WROTE, AND I QUOTE, "LAWRENCE KELLER, HE'S NOT A POLITICIAN AND HE DOES NOT DO COMMERCIALS ON TV.

YOU PROBABLY WOULD NOT KNOW HIM IF YOU PASS HIM ON THE STREET, AND HE PROBABLY LIKES IT THAT WAY.

SUCCESSFUL BUSINESSMEN, ARTS PATRON, INDEFATIGABLE FUNDRAISER, WORLD TRAVELER, GENTLEMEN.

NOT THE TYPE TO TELL YOU HIS PROBLEMS, YET THE TYPE TO LISTEN TO YOURS."

WHAT OTHER PERSONAL QUALITIES DO YOU THINK WERE CRUCIAL AND NECESSARY TO TRANSFORM THE ORGANIZATION OF CINCINNATI BALLET INTO WHAT IT IS NOW?

KELLAR: THE WORD I THINK OF IS PERSEVERANCE.

I DON'T CONSIDER MYSELF TO BE A GREAT FUNDRAISER.

I DO THINK OF MYSELF AS BEING SOMEONE THAT PERSEVERES IN ASKING AND MAKING SURE THAT THE ASKS GET MADE AND SO FORTH.

SO CONFINING PROBABLY MY BIGGEST IMPACT TO THE BALLET HAS BEEN FUND RAISING.

I THINK THAT PERSEVERANCE IS THE WORD I WOULD USE.

I JUST HAD AN EMAIL THE OTHER DAY FROM A LADY WHO I PERSEVERED TO CONTRIBUTE TO THE NEW BUILDING.

AND SHE WAS AT THE GALA THE OTHER NIGHT, AND SHE SENT ME AN EMAIL SAYING HOW SHE APPRECIATED THE FACT THAT I DID PERSEVERE BECAUSE SHE WAS SO PROUD TO BE A PART OF THAT BUILDING.

SO I THINK -- BESPALKO: SO YOU STILL CAN BE A GENTLEMAN AND PERSEVERE?

KELLAR: I CAN BE A GENTLEMAN AND PERSEVERE.

ACTUALLY, IT'S ACTUALLY NOT A BAD WAY TO GET ACQUAINTED IN THE COMMUNITY BECAUSE I ASKED A LOT OF PEOPLE FOR MONEY WHO SAID NO, BUT THE MERE FACT THAT I WAS DOING IT CREATED A RELATIONSHIP, A POSITIVE RELATIONSHIP.

THEY APPRECIATED IT AND SO I GOT TO KNOW LOADS OF PEOPLE IN CINCINNATI.

BESPALKO: AND THEY KNOW YOU VERY WELL.

THE BALLET RECENTLY OPENED A NEW, STUNNING BUILDING.

HOW YOU'RE FINDING OF RESOURCES FOR ITS CONSTRUCTION MIRROR YOUR PREVIOUS EFFORTS IN HELPING TO BUILD BALLET'S OLD HOME ON CENTRAL PARKWAY?

AT THAT TIME, WERE YOU ALREADY THINKING FORWARD, THINKING INTO THE FUTURE OF THE NEW HOME?

KELLAR: NO, NO, NOT AT ALL.

WE WERE JUST COMING OUT OF USING THE GYMNASIUM AT THE EMORY'S AUDITORIUM AS OUR STUDIOS.

WE HAD STARTED OUT, OF COURSE, AT THE UNIVERSITY OF CINCINNATI'S COLLEGE CONSERVATORY.

AND WE REHEARSE AFTER HOURS, SO TO SPEAK.

BUT WE OUTGREW THAT, AND THEIR PROGRAM OUTGREW US.

AND SO WE WERE FORCED TO FIND AN ACCOMMODATION, WHICH WAS THE EMORY CENTER GYMNASIUM.

AND SO WHEN WE MOVED, FORTUNATELY, WE RENTED THE BUILDING AND THEN WE RAISED MONEY FOR THE IMPROVEMENTS.

DIANE DUNKLEMAN AND I UNDERTOOK THAT EFFORT.

AND IT IS MUCH SMALLER THAN THE BUILDING THAT YOU NOW SEE.

BESPALKO: OH, OF COURSE, YES.

KELLAR: SINCE THAT TIME OTHERS HAVE RAISED MONEY FOR THE NEW AUDITORIUM THAT EXISTS THERE AND ADDITIONAL STUDIOS AND SO FORTH.

SO, NO, I THINK WE WERE JUST SO GLAD TO HAVE A COUPLE OF NICE STUDIOS THAT IT WAS A SIGH OF RELIEF.

BESPALKO: I SEE.

I SEE.

WHEN WE, ME AND YOU, AND I WAS VERY PRIVILEGED TO BE VISITING THE BALLET BUILDING, THE NEW BALLET BUILDING RIGHT BEFORE ITS GRAND OPENING.

WHAT WAS ABSOLUTELY SURPRISING AND I WAS AMAZED BY IT PERSONALLY, IS THAT HOW AWARE YOU WERE OF EVERY PROJECT, OF EVERY CHALLENGE, OF EVERY SWITCH ON THE WALL, OF EVERY COLOR OF THE WALLPAPER, AND YOU KNOW WHERE THE ELECTRIC OUTLETS ARE SUPPOSED TO GO.

YOU KNEW IT ALL.

BUT ANOTHER THING THAT WAS BEYOND TOUCHING IS THAT YOU GREETED STAFF BY THEIR FIRST NAME AND YOU WERE SO WELCOMED AND WAS WARM IN RETURN GREETINGS.

IT IS JUST SO WONDERFUL TO WATCH.

AND I'M CURIOUS TO KNOW HOW DO YOU BOTH EMBODY AND INSPIRE THAT KIND OF DEDICATION AND RESPECT, YET HELP OVERSEE THIS ORGANIZATION FROM THE BUSINESS POINT OF VIEW?

KELLAR: WELL, MY KNOWLEDGE OF EVERY ELECTRICAL OUTLET REALLY STEMS FROM WORKING WITH SCOTT ALTMAN, WHO IS OUR NEW CEO AND PRESIDENT.

SCOTT WE RECRUITED FIVE YEARS AGO, AND WHAT A HOME RUN.

HE'S BUILT A VERY FINE STAFF.

AND HE OVERSAW THE CONSTRUCTION OF THIS BUILDING.

AND I'VE TAKEN ENOUGH TOURS WITH HIM.

HE IS SO PROUD OF IT.

AND HE'S THOUGHT OF EVERYTHING.

AND SO I JUST LEARNED FROM TAKING TOURS WITH HIM.

BESPALKO: I SEE.

KELLAR: AND IT'S FUN BECAUSE YOU RUN INTO THE DANCERS AND THE STAFF AND SO FORTH.

AND THE ONLY THING I HATE TODAY ARE MASKS BECAUSE I DON'T ALWAYS KNOW WHO I'M TALKING TO.

BESPALKO: INDEED, I THINK YOU WOULD ANYWAY, YOU KNOW THEM ALL.

KELLAR: BUT IT'S -- SCOTT DOES SUCH A GREAT JOB THAT IT'S JUST -- YOU GIVE HIM IDEAS ANYMORE, YOU DON'T REALLY OVERSEE ANYTHING.

YOU JUST HELP HIM ACHIEVE WHAT HIS VISION IS.

BESPALKO: INCREDIBLE.

LARRY, BACK TO 1993, MY RESEARCH AGAIN, I CAME ACROSS YOUR INTERVIEW.

AND YOU SAID IN IT, "IT DOES NOT BOTHER ME WHEN PEOPLE SAY NO WHEN I ASK FOR MONEY.

SO I DID THAT AND ORGANIZED OTHERS TO HELP."

TELL US MORE ABOUT THAT MENTALITY AND THAT METHOD OF FUND RAISING.

I THINK IT WOULD BE VERY INTERESTING TO LEARN TO YOUNG PROFESSIONALS WHO ARE IN ARTISTIC FIELDS.

KELLAR: IT'S ALWAYS PERPLEXED ME THAT PEOPLE DON'T LIKE TO ASK FOR MONEY.

AS I REFERRED TO BEFORE, IT'S A WONDERFUL WAY TO GET ACQUAINTED WITH PEOPLE.

AND VERY -- IF IT'S FOR A GOOD CAUSE, PEOPLE DON'T RESENT IT AT ALL.

AND YOU CAN DO IT IN PERSON.

YOU CAN GO TO LUNCH, DEPENDING ON THE PROSPECT.

AND YOU CAN ON THE TELEPHONE OR TODAY EMAILS IS WONDERFUL.

SO I WOULD URGE PEOPLE TO, ARTS ORGANIZATIONS, PARTICULARLY THAT THEY GET INVOLVED IN AS WELL AS OTHERS.

WHEN SOMEBODY ASKS THEM TO PARTICIPATE IN RAISING MONEY, DON'T SAY NO.

DO IT BECAUSE IT'S REALLY -- YOU LEARN SO -- YOU MEET SO MANY INTERESTING PEOPLE THAT IT COMPOUNDS YOUR ENJOYMENT OF WHAT YOU'RE DOING.

BESPALKO: THAT'S TRUE.

THAT'S TRUE.

WONDERFUL.

AND I WANT TO ASK ABOUT YOUR BEAUTIFUL BRIDE.

I KNOW THAT YOUR UNION TO BARBARA IS ANOTHER IMPORTANT AND GLORIOUS CHORD IN THE BALLET SCORE.

TELL US HOW THE BALLET IS AN ART FORM AND CBC AS AN ORGANIZATION HAS FIT INTO YOURS AND BARBARA'S RELATIONSHIP OVER THE YEARS.

KELLAR: WELL, YOU KNOW THAT I MET BARBARA ON THAT FIRST TRIP TO RUSSIA.

SHE WAS ONE OF THE 40 PEOPLE WHO WENT ON THAT TRIP.

AND SO WE ULTIMATELY WERE MARRIED AND WENT BACK TO RUSSIA THREE MORE TIMES.

AND THE BALLET WAS REALLY A COLLABORATION IN THE CERTAIN SENSE BECAUSE WE WOULD GO TO PERFORMANCES.

THEY WOULD -- AFTERWARD WE'D SIT DOWN WITH DAVID MCLAIN AND DAVID BLACKBURN AND TALK ABOUT WHAT HAD GONE ON WELL.

AINSLIE, AT THAT TIME, OUR DAUGHTER WAS MAYBE EIGHT, NINE AND SHE'D SLEEP IN THE BOOTH WHILE WE WERE ALL TALKING.

BESPALKO: THERE ARE SOME BEAUTIFUL PICTURES OF HER WITH BARYSHNIKOV TOO.

KELLAR: YEAH, THAT'S TRUE.

OH, I MEANT TO MENTION THAT.

ANYWAY, IT'S JUST A PART OF OUR HEART AND SOUL, JUST AS CET IS, AS A MATTER OF FACT.

BESPALKO: YES, WHO HAVE DONE AN INCREDIBLE JOB.

KELLAR: I TAKE THE LEAD IN THE BALLET AND SHE TAKES THE LEAD IN CET AND BOTH IMPORTANT TO US PERSONALLY, I THINK, AS WELL AS TO THE COMMUNITY.

BUT YOU MENTIONED.

BARYSHNIKOV.

BESPALKO: YES.

KELLAR: FIRST TIME HE WAS HERE, THE SECOND NIGHT HE PERFORMED, OUR DAUGHTER, AINSLEY, WHO WAS MAYBE 10, 12, SOMEWHERE IN THAT AREA, SHE DELIVERED THE FLOWERS TO HIM ON THE STAGE AFTER THE PERFORMANCE.

AND SHE TOOK THEM OUT, STOOD BEFORE HIM AND PRESENTED THE FLOWERS AND KIND OF STOOD THERE A SECOND.

SO HE REACHED DOWN AND KISSED HER.

AND THE AUDIENCE JUST WENT, "OH."

BARYSHNIKOV IS SUCH A -- [INDISCERNIBLE) BESPALKO: HE IS, HE IS, DEFINITELY.

KELLAR: AND SO AFTER THE PERFORMANCE, SHE CAME OUT AND SHE HAD LIPSTICK FROM HIS MAKEUP ON.

AND I GOT OUT MY HANKIE TO RUB IT OFF.

AND BARB SAID, "DON'T YOU DO THAT."

BESPALKO: WELL, I HOPE YOU HAVE THE HANKIE.

LARRY, THIS HAS BEEN ABSOLUTELY AN HONOR TO SPEND TIME WITH YOU AND LEARN MORE ABOUT YOU AND YOUR CONTRIBUTIONS TO CINCINNATI BALLET.

I THINK THE AUDIENCE WOULD AGREE WITH ME WHEN I SAY THAT YOUR ABSOLUTELY PROFOUND IMPACT ON THIS ORGANIZATION HELPED TO CHANGE THE COMPANY'S HISTORY FOREVER.

KELLAR: THANK YOU, POLINA.

IT'S BEEN A DELIGHT FOR ME TO BE AT ANY TIME TO CHAT WITH YOU, AND THIS HAS BEEN PARTICULAR.

BESPALKO: IT'S MY HONOR.

THANK YOU SO MUCH FOR BEING HERE.

KELLAR: ABSOLUTELY.

BESPALKO: NEXT WEEK, BARBARA WILL BE BACK TO TAKE YOU ON A SPECIAL TOUR OF THE NEW CINCINNATI BALLET BUILDING AND GIVE YOU A SPECIAL GLIMPSE INTO THE WINDOWS OF THIS NEW AND VERY, VERY EXCITING NEW HOME FOR THE CINCINNATI BALLET.

IT'S BEEN A PLEASURE TO BE A HOST TODAY.

THANK YOU SO MUCH FOR JOINING US.

ANNOUNCER: JOIN US NEXT WEEK FOR ANOTHER EPISODE OF SHOWCASE WITH BARBARA KELLAR RIGHT HERE ON CET.