ANNOUNCER: TONIGHT ON SHOWCASE WITH BARBARA KELLAR, VICTORIA MORGAN DISCUSSES THE NEW HOME OF CINCINNATI BALLET.

STAY TUNED, A SPECIAL EPISODE OF SHOWCASE STARTS RIGHT NOW.

(MUSIC) KELLAR: HI, I'M BARBARA KELLAR, THANKS FOR WATCHING TODAY.

WE'RE HERE IN A DIFFERENT VENUE.

WE'RE AT THE NEW HOME OF THE CINCINNATI BALLET ON GILBERT AVENUE.

IF YOU'VE BEEN DOWN THE EXPRESSWAY AND SEEN THIS FABULOUS WHITE BUILDING WITH A BALLET DANCER ON THE SIDE, YOU KNOW, THAT'S THE NEW HOME OF THE CINCINNATI BALLET.

AND WE WANTED TO SHOW YOU THE STUDIO AND IT'S INCREDIBLE.

AND TO TALK WITH ME TODAY IS VICTORIA MORGAN, WHOSE HOME THIS NOW IS.

MORGAN: MARGARET AND MICHAEL VALENTINE CENTER FOR DANCE, IT'S AMAZING.

KELLAR: TELL US WHAT IT'S LIKE.

HOW LONG WAS THIS IN THE DOING?

MORGAN: OH, I THINK WE HAD A DREAM ABOUT IT, YOU KNOW, FIVE OR SIX YEARS AGO.

AND WE REALIZED THAT, YOU KNOW, WE HAD TO GET OUR ACT TOGETHER, WE HAD TO REALLY ESTABLISH THE ROOTS AND THE CONNECTIONS THAT WE NEEDED TO MOVE FORWARD, AND IT TOOK US A LITTLE WHILE TO DO IT.

BUT THIS IS A DREAM, EVEN BEYOND MY IMAGINATION COMING TRUE.

KELLAR: YOU KNOW, THE OLD BALLET STUDIO WAS RIGHT DOWN FROM CET, SO WE WERE REALLY NEIGHBORS.

AND THIS IS A LITTLE FURTHER AWAY.

BUT IT'S -- AND IF YOU'RE WONDERING EXACTLY WHERE ON GILBERT AVENUE, IF YOU KNOW WHERE THE BALDWIN BUILDING IS AND THERE'S A PIECE OF LAND, THE CONSTRUAL POINT.

AND THE BALLET BUILDING IS RIGHT THERE AND THE STEPS TO THE ART MUSEUM ARE RIGHT ACROSS THE ROAD.

SO WE'RE REALLY IN WHAT COULD BE CALLED AN ARTS CORRIDOR.

MORGAN: RIGHT, KIND OF A TRIFECTA.

WE HAVE THE PLAYHOUSE ON ONE SIDE, THE MUSEUM ON ANOTHER.

KELLAR: YEAH.

MORGAN: AND THEN THERE'S BALDWIN AND THEN WE'RE THERE.

AND THERE'S, I MEAN, THE NEIGHBORHOOD IS SO ALIVE.

I'M LEARNING MUCH MORE ABOUT THE NEIGHBORHOOD.

KELLAR: YEAH.

DESCRIBE THIS BUILDING FOR US.

MORGAN: OKAY, SO I FEEL THAT THIS BUILDING IS NOT ONLY -- IT'S FUNCTIONAL.

WE HAVE NINE STUDIOS.

BEFORE I WOULD SAY WE HAD MAYBE THREE AND A HALF, MAYBE FOUR IF YOU PUSH THAT LITTLE CLOSET THAT WE CREATED A STUDIO OUT OF.

SO NINE STUDIOS.

IT'S ALMOST DOUBLE THE SQUARE FEET.

IT'S 57,000 SQUARE FEET.

AND JUST THE SENSE OF VASTNESS, YOU KNOW, WE AS MOVERS, WE HAVE TO FEEL LIKE WE CAN MOVE.

AND THIS IS ALMOST WITHOUT WALLS BECAUSE THE STUDIOS ARE SO EXPANSIVE.

AND THE CEILINGS, I'VE NEVER BEEN IN A PLACE WHERE THE CEILINGS ARE SO HIGH, LIKE NOBODY HAS TO WORRY.

YOU KNOW?

KELLAR: IF YOU'RE LIFTING SOMEBODY [INDISCERNIBLE] MORGAN: YOU COULDN'T POSSIBLY EVER JUMP HIGH ENOUGH.

I MEAN, IT'S JUST A WHOLE SENSE OF BREATH.

AND I FEEL -- SO I LOVED OF COURSE, YOU KNOW, 24 OF MY YEARS HERE HAS BEEN WITH THE STUDIO 1555 CENTRAL PARKWAY.

SO OBVIOUSLY THERE'S, YOU KNOW, THERE'S MOMENTS OF MAGIC AND JUST WATCHING SOME OF THOSE REHEARSALS AND SEEING OUR DANCERS COME TO A NEW SENSE OF ARTISTRY OR MUSICALITY OR TECHNICAL CAPABILITY AND SORT OF WATCHING THAT EVOLUTION, IT'S BEEN SO RICH IN MY LIFE TO BE THERE.

SO I'M NOT PUTTING THAT STUDIO DOWN WHEN I SAY THE FOLLOWING THINGS.

KELLAR: ALL RIGHT.

THAT'S ALL RIGHT.

MORGAN: AND THAT IS, I DIDN'T REALIZE HOW INSPIRING IT COULD FEEL TO HAVE SUN IN YOUR LIFE.

KELLAR: YES.

MORGAN: SO, YOU KNOW, WE WERE THERE, AND AT THE TIME IT WAS BUILT BACK IN '94, '95, IT WAS VERY KIND OF A DANGEROUS NEIGHBORHOOD.

SO WE HAD LIKE WINDOWS WAY, WAY UP AT THE TOP, NOTHING ON THE FLOOR BECAUSE THAT WAS A LITTLE TOO DANGEROUS.

AND SO WE SEE LITTLE PIECES OF LIGHT, BUT MOSTLY IT'S FLUORESCENT.

AND YOU'RE SITTING IN YOUR OFFICE, NO ACCESS TO LIGHT, ALWAYS UNDER FLUORESCENT LIGHT.

KELLAR: KIND OF LIKE YOU'RE IN VEGAS.

MORGAN: I WISH.

BUT, SO THIS YOU CAN'T GO DOWN A HALLWAY, YOU CAN'T BE IN A STUDIO, YOU CAN'T EVEN BE IN AN OFFICE WITHOUT SOME FILTERING OF SUNLIGHT.

KELLAR: YEAH, IT IS LIKE THE WHOLE BUILDING IS AGLOW.

MORGAN: IT'S FULL OF HOPE, YOU KNOW?

I THINK THE DANCERS JUST, I MEAN, WE'VE HEARD SOME OF THEM TALK ABOUT IT.

I THINK THEY FEEL THAT THERE IS JUST THIS SENSE ALMOST OF, "WOW, WE HAVE TO LIVE UP TO THIS BUILDING.

THIS BUILDING IS SO GORGEOUS AND IT MEANS SO MUCH TO THIS COMMUNITY.

WE'VE GOT TO LIVE UP TO WHAT THIS IS."

AND SO IT'S MOTIVATING.

KELLAR: YEAH.

NINE STUDIOS.

IS THIS NOW ONE OF THE LARGEST AND MOST COMPLETE BALLET HOMES IN THE COUNTRY?

I WOULD THINK SO.

MORGAN: I THINK IT IS ONE OF THE LARGEST.

I MEAN, IT'S INTERESTING BECAUSE I'VE SEEN STUDIOS ALL AROUND THE COUNTRY AND EVEN INTERNATIONALLY, AND TYPICALLY BECAUSE WE NEED A LOT OF SPACE, BOTH ON THE FLOOR AND FOR THE HEIGHT, SO STUDIOS ARE TYPICALLY A BOX, YOU KNOW, BECAUSE THAT MAKES SENSE?

KELLAR: LIKE A BLACK BOX.

MORGAN: RIGHT, THAT MAKES SENSE.

KELLAR: YEAH.

MORGAN: BUT THIS BUILDING ALSO IS NOT ONLY FUNCTIONAL, BUT IT IS -- IT LITERALLY IS A PIECE OF ART.

LIKE WHEN YOU LOOK AT IT, YOU CAN SEE THERE'S LIKE A STUDIO SPACE JUTTING OUT OVER HERE AND THEN THERE'S A SHIFT IN THE CORRIDOR GETTING TO THE NEXT STUDIO SPACE THAT IS OUT HERE.

THERE ARE ANGLES AND DIMENSIONS.

AND I KNOW GBBN, THE ARCHITECTS, THEY WENT THROUGH A LONG PROCESS WHERE THEY NOT ONLY INTERVIEWED ALL THE DANCERS, ALL THE STAFF, OUR WONDERFUL DONORS, PATRONS, OUR COMMUNITY LEADERS AND GOT ALL KINDS OF FEEDBACK.

THEY WENT AROUND THE COUNTRY, THEY INTERVIEWED OTHER BALLET COMPANIES THAT HAD RECENTLY BUILT STUDIO SPACE.

"WHAT DID YOU LIKE?

WHAT DID YOU FEEL YOU LEFT OUT?

WHAT DID YOU WISH YOU HAD THERE?"

YOU KNOW, LIKE THEY WERE EXTENSIVE.

AND THEN THEY DID THEIR OWN STRATEGIC PLAN.

AND SO THEY'RE THINKING, YOU KNOW, IF YOU PARE IT DOWN THIS ART FORM, IF YOU PARE IT DOWN, WHAT IS AT THE ESSENCE?

AND THEY CAME UP WITH TWO WORDS, AND IT'S STRENGTH AND GRACE.

AND SO THIS IS ACTUALLY WHAT THIS BUILDING EMBRACES THOSE TWO IDEAS, WHICH KIND OF FEEL OPPOSING, ACTUALLY, BUT THEY'RE SO BEAUTIFULLY INTEGRATED.

YOU KNOW, THOSE WONDERFUL SUPPORT COLUMNS.

YOU SEE COLUMNS LIKE THIS.

KELLAR: RIGHT.

MORGAN: WELL, THESE ARE LIKE THIS AND THEY'RE LIKE THIS AND THEY'RE LIKE, THIS.

KELLAR: DIFFERENT BALLET POSITIONS.

MORGAN: YES, RIGHT, EXACTLY, WE CALL THEM DANCING COLUMNS.

AND SO THERE IS THIS, YOU KNOW, LIKE THIS REALLY LIKE TOUGH, REAL EDGE, BIG SOLID LINES.

AND THEN THERE'S THIS KIND OF DELICACY IN OTHER PLACES.

AND IT'S I MEAN, IT'S JUST -- THAT LOBBY.

KELLAR: THE LOBBY, YEAH.

MORGAN: I DON'T KNOW HOW TO NOT KEEP TALKING ABOUT IT.

YOU'RE GOING TO HAVE TO STOP ME.

KELLAR: NO, NO, GO AHEAD, THAT'S WHAT WE WANT TO HEAR ABOUT.

MORGAN: WELL, I MEAN, ALSO CONNECTED TO THAT IS, YOU KNOW, THE WAY WE'VE SET UP THE ADMINISTRATIVE SPACE.

SO THERE ARE THE UNITS AND THERE IS A SENSE -- SOMETIMES I'LL WALK INTO THAT SPACE AND THERE'S THIS [SOUND EFFECT].

AND PEOPLE ARE THERE MAKING IDEAS, WORKING TOGETHER, COMING UP WITH CONCEPTS.

AND THERE'S ALSO A FEW WITH THEIR EARPHONES ON.

AND YOU KNOW, IT'S FEELS -- IT JUST FEELS LIVELY.

IT FEELS IT'S NOT ONLY FEEDING THE DANCERS, BUT IT IS REALLY FEEDING AND INSPIRING THE STAFF AS WELL.

AND IN A WAY THAT'S LIKE SO CONFIDENT BUILDING BECAUSE YOU THINK, "WOW, YOU KNOW, WE MADE THIS HAPPEN.

I MEAN, WE RAISED, YOU KNOW, $31 MILLION.

WE DID IT, WE MADE IT HAPPEN."

AND YOU GET KIND OF THE SENSE LIKE, "OH, WE CAN DO ANYTHING."

YOU KNOW?

IT'S SO GREAT.

KELLAR: IT'S VERY EMPOWERING.

MORGAN: YEAH.

KELLAR: YEAH, AND THERE ARE LOTS OF THINGS GOING ON HERE BESIDES THE MAIN COMPANY OF THE BALLET.

MORGAN: YES.

KELLAR: TELL US ABOUT SOME OF THOSE.

MORGAN: YEAH, ABSOLUTELY.

I THINK, SO WE FELT LANDLOCKED BEFORE.

WE JUST DIDN'T HAVE THE STUDIO SPACE TO DO ALL THE THINGS WE WANTED TO DO.

SO, OF COURSE, WE HAD WONDERFUL HIGH END BALLET TRAINING, BUT WE REALLY DIDN'T HAVE THE SPACE TO HAVE A RECREATIONAL ARM.

YOU KNOW, IT'S IMPORTANT, NOT EVERYBODY WANTS TO BE A BALLERINA.

I'M SO SURPRISED ABOUT THAT, BUT IT'S TRUE.

AND SO YOU WANT TO BE ABLE TO STILL FEEL THE SENSE OF MUSIC IN YOUR BODY AND THE PHYSICALITY OF THE TECHNIQUE IS REALLY GOOD FOR YOUR, YOU KNOW, YOUR BACKSIDE AND YOUR -- I MEAN, IT'S JUST GOOD FOR YOUR BODY.

SO, NOW WE HAVE A RECREATIONAL.

BUT THIS ART FORM IS SHIFTING, IT'S CHANGING.

I'M SURE YOU'VE PROBABLY NOTICED WE LOVE THOSE SWAN LEGS.

WE LOVE THOSE BEAUTIFUL TIARAS AND THOSE TUTUS.

BUT WE ALSO SEE THIS INTEGRATION OF, JUST LIKE SO MANY OTHER THINGS, SO MUCH KNOWLEDGE IS COMING INTO THIS ART FORM FROM OTHER GENRES, YOU KNOW?

OUR RESIDENT CHOREOGRAPHER NOW FOR A LONG TIME, JENNIFER ARCHIBALD, CAME FROM THE ALVIN AILEY SCHOOL, AND HER FIRST SORT OF PRIORITY IS HIP HOP.

SHE WANTED TO BE A BALLET DANCER, SO SHE'S GOT A LOT OF THE TECHNIQUE AND THE INFORMATION FOR IT.

BUT SHE IS, YOU KNOW, FUZING THIS ART FORM WITH A KIND OF DIFFERENT SENSE OF ATTACK AND ISOLATION AND, YOU KNOW, ROLLING WITH THE HIP.

AND JUST A DIFFERENT USE OF MOMENTUM AND KIND OF THIS SERIOUSNESS AND AT THE SAME TIME, YOU KNOW, THIS KIND OF POWER THAT I SO -- I LOVE OUR WOMEN LOOKING SO POWERFUL.

AND SO THIS ART FORM IS EMBRACING, AND I THINK IT'S RICHER.

AND IT'S INEVITABLE, AND WE'RE GOING TO SEE IT CONTINUE TO CHANGE.

AND SO WE NEED TO HAVE HIP HOP CLASSES.

WE NEED TO HAVE CONTEMPORARY CLASSES.

WE NEED TO HAVE EVEN TAP CLASSES, YOU KNOW?

KELLAR: SEE, THAT WAS A BAD WORD YEARS AGO.

MORGAN: I KNOW, I KNOW.

KELLAR: WHEN MY DAUGHTER GOT A PAIR OF TAP SHOES, SHE COULDN'T LET ANYBODY KNOW.

DON'T EVER SAY ANYTHING ABOUT TAP SHOES.

THAT'S RIGHT.

MORGAN: I KNOW.

WELL, THIS ART FORM HAS CHANGED.

I MEAN, I RETIRED, YOU KNOW, OVER 30 YEARS AGO, BUT I REMEMBER BEING IN THE STUDIO AND IT WAS A YURI KILIAN WHO IS A VERY FAMOUS CHOREOGRAPHER.

AND IN THOSE DAYS, YOU KNOW, WE DIDN'T HAVE THE INTERNET.

WE DIDN'T KNOW HOW TO LOOK THINGS UP.

YOU HAD TO FIGURE OUT A WAY TO BUY IT, IF YOU COULD BUY IT IN SOME BOOKSTORE.

SO I DIDN'T KNOW.

I REALLY DIDN'T KNOW WHAT THIS BALLET WAS.

IT'S CALLED FORGOTTEN LAND, A GORGEOUS PIECE THAT HE DID MANY YEARS AGO.

AND SO AT SAN FRANCISCO BALLET, I REMEMBER THE REPETITEUR COMING IN AND HE'S STARTING TO STAGE IT.

AND HE SAYS, "NOW YOU GET DOWN ON THE FLOOR AND YOU MAKE A REALLY FAST ROLL AND YOU COME UP TO YOUR KNEE, A REALLY FAST ROLL TO THE OTHER SIDE AND COME UP TO YOUR KNEE."

AND I JUST WAS THINKING, "BUT I'M A BALLERINA."

KELLAR: YOU KNOW?

I MEAN, AND NOW OUR DANCERS, THEY HAVE 50 DIFFERENT WAYS TO GET TO THE FLOOR AND BACK UP AGAIN.

I MEAN, IT IS JUST -- IT'S A NEW LIFE COMING FORWARD AND THIS BUILDING IS EMBRACING IT AND FEEDING THAT KIND OF A FUTURE.

RIGHT, AND THE SCHOOL IS HERE.

MORGAN: AND THE SCHOOL, THE ACADEMY, I MEAN TO SAY, YOU KNOW?

SO WE HAVE OUR MAIN COMPANY.

WE HAVE OUR SECOND COMPANY AND THAT'S 12 DANCERS AUDITIONED FROM ALL OVER THE COUNTRY.

AND OFTEN WE TAKE SOME OF OUR PROFESSIONAL TRAINEES.

THAT'S THE NEXT ONE UNDER IS PROFESSIONAL TRAINEES.

WE HAVE ABOUT 30 OF THEM.

WE HAVE KIND OF A PRIMARY GROUP AND A SECONDARY GROUP.

AND AGAIN, THEY COME FROM ALL OVER THE COUNTRY AS WELL AS OUR ACADEMY.

AND THEN ON TOP OF THAT, WE HAVE OUR ACADEMY.

AND THAT IS WHERE ALL THOSE CLASSES ARE BEING INTEGRATED AND TAUGHT.

YOU KNOW, SOMEONE MAY NOT HAVE THAT MUCH OF AN INTEREST IN BALLET, BUT THEY LOVE HIP HOP.

THIS IS A GREAT PLACE TO LEARN THAT AND TO EXPERIENCE THAT.

SO, AND OUR ACADEMY IS BOLD.

THEY ARE GROWING.

WE LIKE HAD TO KEEP JUST THESE SMALL NUMBERS, AND I'M NOT GOING TO SAY EXACTLY WHAT THEY ARE BECAUSE I DON'T KNOW WHAT THE UPDATE IS.

BECAUSE WITH THIS BUILDING WITH NINE STUDIOS, WHEN EVEN RIGHT AFTER SCHOOL, THEY START SHOWING UP LIKE 3:30.

AND WE'RE JUST SEEING THIS AND YOU'LL LOOK AND YOU'LL LOOK AND YOU'LL SEE THERE'S A STUDIO THEY'VE ALREADY STARTED.

KELLAR: THEY'RE EVERYWHERE.

MORGAN: YEAH, THESE YOUNG PEOPLE.

IT IS, YOU KNOW, THIS ART FORM IS GOING TO BE REDEFINED IN THIS COMMUNITY.

AND I HAPPEN TO KNOW THE POWER OF THIS ART FORM.

I KNOW THAT, YOU KNOW -- SO I WAS TOTALLY SHY.

I COULDN'T, I WAS JUST LIKE I COULDN'T TALK.

I WAS RAISED IN A VERY SORT OF CONSERVATIVE, KIND OF STRICT.

KELLAR: REALLY CONSERVATIVE.

MORGAN: MORMON FAMILY, SO YEAH.

SO REALLY, I LEARNED TO UNDERSTAND THAT I HAD WORTH AND THAT I HAD GRIT AND THAT I COULD FIGHT FOR SOMETHING.

I DIDN'T KNOW I COULD FIGHT FOR ANYTHING.

I LEARNED IT IN THE ART FORM AND THE DRIVE TO THAT TECHNIQUE.

AND SO I FEEL THAT THIS ART FORM IS GOING TO IMPACT AND IT'S GOING TO CHANGE LIVES.

WE KNOW THAT.

KELLAR: YEAH, IT'S ONE OF THE MANY REASONS WHY PEOPLE SHOULD, IF CHILDREN ARE THE SLIGHTEST BIT AMENABLE TO DO BALLET, TO TRY BALLET.

MORGAN: YEAH, YOU DON'T HAVE TO BE A BALLERINA.

KELLAR: NO.

YOU CAN FIND THINGS WITHIN YOURSELF THAT REALLY SELF AFFIRMING.

I WAS THINKING ABOUT WHEN YOU WERE TALKING ABOUT THE DIFFERENT LEVELS OF THE BALLET AND HOW PEOPLE, I KIND OF THINK OF A SPORTS TEAM AS FAR AS WHO'S RECRUITED AS THE BALLET.

BECAUSE SOMEBODY MIGHT BE REALLY TERRIFIC, BUT THEY DON'T FIT IN WITH THAT PARTICULAR GROUP.

YOU MIGHT HAVE A BIT, YOU NEED A CERTAIN PERSON AS A BASEBALL PLAYER, A PITCHER, A RELIEVER, OR IN FOOTBALL, ABOUT WHICH I KNOW NOTHING.

BUT AT THE SAME IS TRUE OF BALLET.

DIFFERENT BALLET GROUPS HAVE DIFFERENT FOCUSES AND YOU HAVE YOUR GROUP AND YOU PICK THE PEOPLE WHO ARE GOING TO FIT IN WITH THAT.

AND SOMEBODY MIGHT BE TERRIFIC, BUT TERRIFIC IN A DIFFERENT COMPANY.

MORGAN: BARBARA, THAT'S SO TRUE.

THAT'S SO TRUE.

AND JUST THE STRUCTURE OF A TYPICAL BALLET COMPANY, YOU KNOW, YOU HAVE A FEW YOUNG ONES COMING UP AND THEN YOU HAVE KIND OF THAT SOLID CORE DE BALLET AND THEN YOU HAVE YOUR PRINCIPALS AND THEN YOU HAVE YOUR SOLOISTS.

I'M SORRY, SOLOIST AND THEN YOUR PRINCIPALS.

AND SOMETIMES YOU SEE A GREAT DANCER, BUT YOU GO, "WAIT A MINUTE, I HAVE TWO GORGEOUS PRINCIPAL WOMEN ALREADY."

AND IT'S SAD THAT YOU CAN'T TAKE THEM.

BUT IN TRUTH, YOU KNOW, WE FOCUS ON THOSE WHO HAVE BEEN LOYAL TO US AS WELL.

AND WHAT IS INTERESTING IS, YOU KNOW, OUR SECOND COMPANY BECAUSE AS AN ARTISTIC DIRECTOR AND YOU'RE AT AN AUDITION AND YOU GIVE THEM THEIR BALLET STEPS.

THE THINGS YOU DON'T KNOW ABOUT THEM WHEN YOU'RE IN THAT AUDITION PROCESS, YOU DON'T KNOW WHAT IS THEIR WORK ETHIC?

HOW DO THEY GET ALONG IN A GROUP, YOU KNOW?

ARE THEY ENCOURAGING, ARE THEY POSITIVE?

WILL THEY HAVE A GOOD IMPACT?

DO THEY LEARN CHOREOGRAPHY?

CAN THEY RETAIN CORRECTIONS AND NOTES?

THESE ARE THE THINGS WE FIND OUT WHEN WE WORK WITH SOME OF THESE YOUNG DANCERS IN OUR SECOND COMPANY.

AND SO THE TENDENCY HAS BEEN, "OKAY, I SEE A DANCER OVER HERE IN THIS AUDITION THAT I REALLY LIKE, BUT I HAVEN'T REALLY WORKED WITH THEM.

THEY'RE SORT OF EVEN OR MAYBE EVEN A LITTLE BIT BETTER THAN A SECOND COMPANY DANCER."

AND I'LL GO WITH THE SECOND COMPANY DANCER.

SO NOW WE HAVE A LOT OF SECOND COMPANY DANCERS WHO ARE IN OUR COMPANY AND THEY'VE BEEN WITH US FROM THE REALLY BASICALLY FROM THE BEGINNING, EARLY STAGES OF THEIR CAREER AND COMING UP FORWARD.

I MEAN, THE LAST CLASS IS A GOOD EXAMPLE OF THAT.

KELLAR: YEAH, I WAS JUST FINISHING A BOOK ABOUT NEW YORK CITY BALLET, WHICH I REFERRED TO YOU.

AND EVEN BALANCHINE HAD PROBLEMS WITH HIS PRIMA BALLERINA, SO TO SPEAK.

AND SOMETIMES, NO MATTER WHAT THE DISCIPLINE IS, SOMEONE COULD BE AN INCREDIBLE SUPERSTAR GENIUS, BUT IF THEY CAN'T FUNCTION IN A PRODUCTIVE WAY, WHICH SOMETIMES HAPPENS, THEY BURN OUT.

THEY DISSOLVE EARLY ON.

MORGAN: IT'S TRUE.

KELLAR: AND SO THE WAY YOU ARE OFF STAGE IS IMPORTANT TO THE WAY YOU ARE ON STAGE.

AND I THINK THE DANCERS ARE THE SAME WAY.

YOU KNOW, IF THEY CAN'T FUNCTION WELL ENOUGH TO GET ALONG WITH A GROUP, WHICH IS -- MORGAN: RIGHT, WE'RE A TEAM, WE'RE A TEAM SPORT IN A WAY.

KELLAR: RIGHT.

SO THAT'S JUST ONE LITTLE ASPECT OF BALLET.

AND I LIKE TO THINK THAT IN THIS NEW BUILDING EVERYBODY IS GOING TO BE SO DEDICATED AND SO WILLING TO MAKE A REALLY GREAT PRODUCT, BECAUSE WE'RE EXPECTING GREAT THINGS.

MORGAN: PRESSURE'S ON.

KELLAR: NO PRESSURE, BUT YES, RIGHT.

MORGAN: YEAH.

KELLAR: BUT YOU'VE ALREADY SAID, YOU KNOW, THAT THEY FEEL EMPOWERED TO DO BETTER, TO BE BETTER.

MORGAN: YEAH, YEAH, I MEAN, LIVING UP TO THIS BUILDING.

AND THE COMMUNITY THAT CAME FORWARD, SOME PEOPLE GIVING THE BIGGEST GIFTS THEY'VE EVER GIVEN IN THEIR LIVES, YOU KNOW?

I MEAN, WE JUST SAW SUCH AMAZING SUPPORT.

AND WE DID IT.

WE HAD 99% OF IT RAISED BEFORE COVID HIT.

AND SO WHAT WAS AMAZING IS WE WERE, YOU KNOW, IN COVID, WE WERE PIVOTING, AND LET'S DO IT THIS WAY.

OH, MAYBE WE CAN BE OUTSIDE OR MAYBE WE CAN DO THIS.

WE DO A FILM.

WE'VE GOT TO CHANGE THE RIP.

WE'VE GOT TO SOCIALLY DISTANCE.

WE'VE GOT TO PUT THEM IN PODS.

WE'VE GOT TO -- LIKE WE WERE ALL OVER THE MAP TRYING TO ACCOMMODATE COVID.

AND, YOU KNOW, PUT THE BRAKES, ON NOW GO, PUT THEM ON.

THIS BUILDING, BECAUSE THE WORKERS WERE CONSIDERED ESSENTIAL AND BECAUSE WE HAD THE MONEY RAISED AND WE COULD MOVE FORWARD, IT NEVER STOPPED.

IT JUST LIKE BLASTED RIGHT THROUGH.

KELLAR: YEAH, I THINK WE HAVE TO GIVE A GREAT CREDIT TO THE ARCHITECTS.

MORGAN: OH, LOVE THEM.

KELLAR: THEY WERE GBBN, GARTNER, GBBN, GARTNER, BURDICK, BAUER-NILSEN.

RIGHT.

MORGAN: GOOD FOR YOU.

KELLAR: WELL, THAT'S BECAUSE I KNEW THE BAUER-NILSENS YEARS AGO.

MORGAN: YES, OF COURSE.

KELLAR: MANY, MANY, MY FORMER LIFE.

BUT THEY DID A FANTASTIC JOB.

THEY'RE YOUNG, AT LEAST THE ONES I MET, AND INCREDIBLY EXCITED ABOUT WHAT THEY DID.

MORGAN: AS THEY SHOULD BE.

KELLAR: THERE'S NOT -- I HAVE NOT HEARD A SINGLE WORD ABOUT SOMETHING THAT THIS BUILDING IS LACKING.

NO EXCUSES.

MORGAN: I'M TRYING TO FIND IT.

KELLAR: YEAH, NO, NO EXCEPTIONS.

"WELL, IF ONLY WE COULD.

WE WEREN'T ABLE TO DO THIS "OR WHY...?"

NOTHING LIKE THAT.

IT HAS ABSOLUTELY EVERYTHING THAT ANYBODY COULD.

AND WHAT A GREAT THING FOR THE CITY.

IT'S JUST ANOTHER STAR IN THE CROWN OF THE QUEEN CITY, I THINK.

MORGAN: A DIAMOND.

KELLAR: A DIAMOND, YES, RIGHT.

IF PEOPLE WOULD LIKE TO SEE THE INSIDE, COULD THEY CALL UP AND ASK?

MORGAN: WE CAN MAKE ARRANGEMENTS FOR TOURS, MM-HMM.

513-621-5289.

YOU KNOW IT.

KELLAR: OKAY.

RIGHT, YEAH, BECAUSE I THINK THIS IS SOMETHING THAT PEOPLE WOULD ENJOY SEEING IN PERSON.

BECAUSE YOU CAN SEE IT FROM THE OUTSIDE.

IT'S VERY LARGE AND VERY IMPOSING.

BUT I THINK IT INVITES PEOPLE TO WANT TO SEE WHAT'S GOING ON IN HERE, AND THERE'S ALWAYS SOMETHING GOING ON.

MORGAN: A LOT.

IT'S GREAT, I MEAN, JUST WALKING INTO THE LOBBY, YOU GET A SENSE OF -- IT'S GOT THIS SORT OF INDUSTRIAL VASTNESS ABOUT IT, AND AT THE SAME TIME, IT'S REALLY ELEGANT.

KELLAR: AND WARM.

MORGAN: AND WELL-DEFINED, YOU KNOW, LIKE ALL THE DETAIL.

AND SO YOU WALK IN, YOU SEE THAT BEAUTIFUL WALL WITH OUR BIG LOGO AND THEN THIS GORGEOUS SORT OF WOODWORK OF THE STEPS AND THE OPENING.

LIKE YOU CAN LOOK UP FROM THE FIRST FLOOR AND SEE THE SECOND FLOOR.

AND IN ONE OF THE OPENINGS, YOU CAN SEE WHERE, OH, THERE'S DANCERS AT THE BAR OVER THERE.

THAT'S I MEAN, THE LIGHT AND THE CONNECTIONS IT'S, THEY JUST DID A MIRACULOUS JOB.

KELLAR: I CAN REMEMBER THE FIRST TIME COMING INSIDE.

AND I DON'T KNOW WHAT I EXPECTED.

MORGAN: I KNOW.

KELLAR: BUT IT WAS LIKE, "OH, MY GOSH."

YEAH.

THIS IS ABSOLUTELY.

YEAH, BECAUSE I LIVED THROUGH A FEW OTHER BALLET HOMES.

MORGAN: I KNOW YOU DID.

SO GRATEFUL YOU'RE STILL HERE, YOU'RE STILL HANGING IN THERE.

KELLAR: YES, SOME OF THEM NOT -- NOT SO GREAT, BUT WE PERSEVERED AND HERE'S WHERE WE ARE TODAY.

AND YOU'RE A HUGE PART OF IT ALL.

PEOPLE LOVE TO DO THINGS TO MAKE YOUR CAREER BETTER.

MORGAN: THANK YOU SO MUCH.

KELLAR: THE BEST, I SHOULD SAY.

MORGAN: IT'S BEEN SUCH A BIG JOY.

KELLAR: 25 YEARS YOU'VE BEEN HERE.

MORGAN: IT'LL BE 25 BY THE END OF THIS SEASON.

KELLAR: YEAH.

DID YOU THINK IT WOULD BE THAT LONG?

MORGAN: NO.

KELLAR: I MEAN, MOST DIRECTORS DON'T LAST THAT LONG.

MORGAN: NO, THEY DON'T.

KELLAR: SO YOU JUST -- BUT YOU JUST KEPT GOING.

MORGAN: I KNOW, I MEAN, IT WAS INTERESTING WHEN I FIRST ARRIVED, THERE WERE, YOU KNOW, FINANCIAL ISSUES AND I'D COME FROM SAN FRANCISCO BALLET AND I FELT A LITTLE FRUSTRATED.

I THOUGHT I WAS GOING TO BRING IN THESE COOL CHOREOGRAPHERS AND I THOUGHT I WAS GOING TO BE ABLE TO DO A LOT OF THINGS.

BUT I REALLY, I COULDN'T, AND IT WASN'T APPROPRIATE.

AND EVEN WITH CURTAILING AND I FELT MAKING COMPROMISES THAT WERE CUTTING INTO THE ARTISTIC SIDE OF THE ORGANIZATION, I STARTED FEELING REALLY SAD ABOUT IT.

WE STARTED BUILDING UP BIG DEFICITS.

AND THEN I THOUGHT, "WELL, HEY, I'D LIKE TO TRY THAT CEO THING."

BECAUSE IT'S INTERESTING, YOU KNOW, WHEN YOU'RE IN AN ARTS COMPANY, THERE'S A REALLY KIND OF PRETTY STRICT LINE: OVER HERE IS THE ARTISTIC SIDE AND YOU PICK THE REPERTOIRE, YOU KNOW, PICK THE DANCERS, DO YOUR ARTISTIC THING.

OVER HERE IS THE ADMINISTRATIVE SIDE, THERE'S THE DEVELOPMENT AND THE FINANCE AND THE MARKETING.

BUT IF THERE'S ANY MALFUNCTION OR NOT SUCCESS OVER HERE, THEN IT TOTALLY IMPACTS OVER HERE.

SO I FELT, YOU KNOW, I JUST WANT TO TRY IT.

I JUST WANT TO TRY IT.

KELLAR: AND YOU WERE, I DON'T KNOW ANYBODY ELSE WHO WAS ARTISTIC DIRECTOR AND THE MANAGER.

AND YOU DID IT, WE SAID YES, AND YOU NOT ONLY DID IT, BUT YOU DID IT BRILLIANTLY.

OH, MY GOSH.

MORGAN: THANK YOU.

KELLAR: YEAH, UNTIL YOU JUST SAID, "ENOUGH, I NEED A LITTLE HELP HERE."

BUT FIRST AND FOREMOST, YOU'RE A GREAT FUNDRAISER, SO PEOPLE SHOULD NOT LOSE TRACK OF THE FACT THAT FUNDRAISING IS AN IMPORTANT PART OF ALL THE ARTS, BECAUSE WITHOUT FUNDRAISING, WE DON'T EXIST.

MORGAN: THANK YOU FOR SAYING THAT.

AND I HAVE TO SAY THAT ONE OF MY JUST BIGGEST BLESSINGS, I THINK, IS GETTING TO KNOW THE PATRONS.

AND BECAUSE THEY WERE ALWAYS LOOKING.

YOU KNOW, THEY -- OUR BOARD MEMBERS, OUR DONORS, LIKE OUR WONDERFUL SUPPORTERS, LIKE YOU AND LARRY.

I MEAN, IT'S NOT -- YOU LOVE THE BALLET, BUT THEN THERE'S A SOCIAL CAUSE THAT YOU'RE INTERESTED IN, AND THERE'S ALSO A RADIO STATION THAT YOU'RE INTERESTED IN AND TV AND THERE'S EDUCATION AND THERE'S OTHER THINGS THAT YOU BRING PERSPECTIVES.

AND I FELT LIKE I GOT TO KNOW THIS COMMUNITY THROUGH THE EYES OF THOSE PATRONS WHO LOVE THIS COMMUNITY.

AND IT REALLY HELPED ME FALL IN LOVE WITH THE COMMUNITY.

AND IT WAS ONE OF MY JOYS OF THE POSITION.

I LOVED -- I'M BASICALLY AM A PEOPLE PERSON, BUT I LOVED GETTING TO KNOW THEM AND I FEEL LIKE I GOT SUCH AN EDUCATION.

KELLAR: YEAH, BUT YOU WERE THE PERSON WHO PICKED UP THE PHONE OR WROTE THE NOTE.

MORGAN: I WAS DELIGHTED TO DO IT.

KELLAR: YEAH, YOU HAVE, AND I'M HOPING THAT YOU'LL CONTINUE TO BE A HUGE PART OF THE BALLET FAMILY BECAUSE IT IS YOU.

THE BALLET IS YOU.

MORGAN: THAT'S SO SWEET.

THAT'S SO, SO SWEET.

WELL, I PLAN ON IT.

I MEAN, I AM, AS YOU KNOW, RETIRING AT THE END OF THE SEASON.

AND, YOU KNOW, 25 YEARS, THAT'S REALLY A GREAT LONG TIME.

AND I THINK IF I HADN'T STEPPED IN AT THE CEO AND WE HADN'T HAD THIS BIG BUILDING, LIKE THERE WAS ALWAYS SOME REASON, THERE WAS ALWAYS SOMETHING THAT WAS LIKE OUT THERE, BIG DREAM, BIG FUTURE KIND OF THING.

AND SO AS LONG AS THERE WAS THAT KIND OF, YOU KNOW, KIND OF STIMULATION, I REALLY FELT COMPELLED.

AND IT'S NOT -- I FEEL LIKE THE FUTURE IS AMAZING RIGHT NOW, JUST AMAZING.

BUT I ALSO FEEL THAT, YOU KNOW, HOW DO YOU LIKE, ESPECIALLY IN ARTS ORGANIZATION?

LIKE, HOW DO YOU GET NEW IDEAS?

IT MEANS NEW PEOPLE.

IT MEANS AN INFUSION OF, "OKAY, THIS PERSPECTIVE.

AND OH, WE NEVER THOUGHT ABOUT THAT BEFORE.

AND OH, WE COULD DO THIS.

WE NEVER KNEW WE COULD DO THAT."

AND I FEEL LIKE WE HAVE PREPARED THE PLACE FOR A NEW LEADER TO COME IN AND TAKE IT FROM HERE TO THERE, YOU KNOW?

AND I'M EXCITED ABOUT THAT.

I FEEL THERE COMES A TIME WHEN THERE'S, WHEN IT'S TRANSITIONAL AND IT NEEDS TO BE.

KELLAR: YEAH.

MORGAN: AND WHILE I'VE TOTALLY, OH MY GOSH, I'VE LOVED SO MUCH.

AND I'M REALLY CHERISHING IT RIGHT NOW, BEING IN THE STUDIO WITH THE DANCERS AND SETTING KING ARTHUR'S CAMELOT.

KELLAR: WHICH IS COMING UP THIS SEASON.

MORGAN: YEAH, I MEAN, THERE'S A LOT GOING ON AND I'M SORT OF CHERISHING EVERY MOMENT.

AND AT THE SAME TIME, I KNOW THAT IT'S A PRETTY INTENSE KIND OF A JOB.

AND YOU KNOW, I'M READY TO FEEL-- I WANTED TO MAKE SURE THAT I COULD, YOU KNOW, HAVE THE ENERGY AND THE PHYSICALITY AND A LITTLE BIT OF WITS ABOUT ME TO, YOU KNOW, SHIFT INTO SOMETHING ELSE AND HAVE THE OPPORTUNITY TO HAVE ANOTHER EXPERIENCE.

AND I FEEL LIKE WE ALL HAVE TO BE BRAVE.

YOU KNOW, IT WAS BRAVE WHEN -- ALL DANCERS ARE BRAVE WHEN THEY HAVE TO QUIT PERFORMING.

YOU KNOW, YOU HAVE TO CHISEL OUT A NEW DEFINITION AND A NEW IDEA ABOUT WHAT YOU COULD BE.

AND NOW THIS YEAH, IT'S -- I'M EXCITED ABOUT IT AND I'M EXCITED FOR THE COMPANY.

KELLAR: YEAH, AND WHATEVER IT IS YOU DO, YOU'VE REALLY BROUGHT AND CINCINNATI BALLET INTO ITS OWN, AS THEY SAY.

AND 25 YEARS DOESN'T SEEM LIKE 25 YEARS, BUT WHATEVER IT IS YOU DO WHERE WE'RE WITH YOU, WE'RE SUPPORTING YOU JUST AS YOU HAVE BROUGHT BALLET TO THIS BUILDING AND TO THE STATUS THAT WE HAVE NOW.

SO THANK YOU.

THANK YOU VERY MUCH FOR 25 YEARS AND FOR TODAY AND FOR THIS BUILDING AND EVERYTHING ELSE YOU'VE DONE.

WE REALLY APPRECIATE IT.

I LOVE YOU.

MORGAN: I LOVE YOU.

THANK YOU.

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