EXCLUSIVE: MISTY COPELAND

In honor of Women’s History Month, American Ballet Theatre principal dancer Misty Copeland tells us about the woman who gave her strength in her darkest hours and inspired her to keep moving forward.

Aired on March 21, 2019.

TRANSCRIPT

> THE INCOMPARABLE MISTY COPELAND, SHE WILL BE BACK CENTER STAGE THIS SPRING FOR THE AMERICAN BALLET THEATER'S UPCOMING SEASON AT LINCOLN CENTER WHICH GETS UNDER WAY IN MAY.

YOU WILL REMEMBER THAT SHE MADE HISTORY BACK IN 2015 WHEN SHE BECAME THE FIRST AFRICAN-AMERICAN BALLERINA TO BE NAMED A PRINCIPAL DANCER IN THE COMPANY'S 75-YEAR HISTORY.

SINCE THEN THIS BOLD BALLERINA HAS BROUGHT PLENTY OF NEW FANS INTO THE THEATER, WHILE PUSHING TO MAKE THE WORLD OF BALLET MORE DIVERSE AND INCLUSIVE PLACE.

AS PART OF THAT PUSH, SHE'S LOOKING BACK AT THE BLACK DANCERS WHO PAVED THE WAY FOR HER RISE FROM POVERTY TO SUPERSTAR DOM, INCLUDING ONE OF HER MENTORS, RAVEN WILKINSON, THE NEW YORK DANCE LEGEND DIED IN DECEMBER AT THE AGE OF 83 FOLLOWING A CAREER THAT SAW HER OVERCOME DISCRIMINATION AND SEGREGATION, TO BECOME ONE OF THE FIRST AFRICAN-AMERICANS TO PERFORM WITH A MAJOR BALLET COMPANY.

SHE PASSED DOWN HER KNOWLEDGE TO MISTY COPELAND, WHO NEXT MONDAY IN HARLEM WILL HOST A CELEBRATION OF WILKINSON'S LIFE.

TONIGHT, IN HONOR OF WOMEN'S HISTORY MONTH, WE'RE TAKING A CLOSER LOOK AT THE REMARKABLE CAREERS OF BOTH OF THESE TRAIL BLAZING BALLERINAS.

AND TO HELP US DO JUST THAT, IT IS OUR PLEASURE TO WELCOME MISTY COPELAND BACK TO 'METROFOCUS.'

THERE'S NO SO MUCH I WANT TO TALK TO YOU ABOUT.

OKAY.

WE'LL GET TO CHANGES, WHAT YOU'VE SEEN, IN TERMS OF DIVERSITY ON STAGE AND IN FRONT OF THE STAGE, BUT I WANT TO FOCUS FIRST, ON RAVEN WILKINSON.

HOW DID YOU FIRST LEARN OF HER.

YEAH, IT'S REALLY INTERESTING, IT IS SOMETHING THAT I'VE DISCOVERED, AND FOUND, I FELT LIKE IT WAS SOMEWHAT A PART OF MY PURPOSE, AND YOU KNOW, NOT JUST TO BE A CLASSICAL DANCER, NOT JUST TO BE A BALLERINA, BUT REALLY TAKING OWNERSHIP AND RESPONSIBILITY IN MY POSITION AS A BLACK BALLERINA, AND HOW I'M SEEN, AND I THINK THAT REALIZING THAT I DIDN'T HAVE THAT TO LOOK AT, GROWING UP.

THEY WERE THERE, AND THEY EXISTED, BUT I WAS NOT SHOWN IT, IT'S NOT SOMETHING THAT YOU CAN EASILY ACCESS.

I REMEMBER THE FIRST TIME I SAW A BLACK BALLERINA, I THINK SHE WAS ON THE COVER OF POINT MAGAZINE, OR DANCE MAGAZINE, ONE OF THOSE, AND IT WAS SHOCKING.

LIKE I DIDN'T KNOW EVEN LIKE WHAT IT WAS, I COULDN'T IDENTIFY --

SOMEBODY WHO LOOKS LIKE ME.

THE FEELINGS I HAD.

BUT IT WAS RAVEN, THE FIRST TIME, IT ALL CLICKED.

I WAS ALREADY A PROFESSIONAL DANCER.

I WAS IN THE COURT OF BALLET, I BELIEVE.

AND I WAS WATCHING A DOCUMENTARY ON THE BARLEY ROUTA MONTY KARLO, THE COMPANY SHE DANCED WITH THAT IS NO LONGER IN EXISTENCE NOW IN THE 1950s, AND SHE CAME ON TO THE SCREEN AND SHE STARTED SPEAKING AND I IMMEDIATELY JUST STARTED BALLING MY EYES OUT.

IT WAS JUST IMMEDIATE RECOGNITION THAT I NEVER EXPERIENCED --

HERE IS SOMEONE WHO PAVED THE WAY AND I DIDN'T EVEN KNOW IT.

EXACTLY.

I COULDN'T TRULY ARTICULATE OR UNDERSTAND WHY I WAS SO EMOTIONAL AND THAT'S WHY I UNDERSTAND THE IMPORTANCE OF ME BEING IN THIS POSITION, JUST SIMPLY TO HAVE A YOUNG PERSON LOOK AT ME AND SEE AN OPPORTUNITY THROUGH ME, LIKE THEMSELVES THROUGH ME, AN OPPORTUNITY FOR THEMSELVES, WHETHER IT IS TO BE A DANCER OR NOT, BUT THAT THERE IS SOMEONE SUCCEEDING THAT LOOKS LIKE THEM.

AND RAVEN WAS THAT FOR ME.

AND IT LITERALLY CHANGED MY WORLD RIGHT THEN IN THAT MOMENT.

WHEN YOU LEARN ABOUT HER LIFE, AND YOU LOOK AT HER TRAVAILS, WHAT DID YOU LEARN ABOUT HER, WHAT CONFRONTED HER, AND HOW SHE HANDLED IT?

IT WAS EYE OPENING.

WHEN I THINK ABOUT CLEARLY IN THE PAST AND THROUGHOUT HISTORY, JUST BEING AFRICAN-AMERICAN, YOU'RE GOING TO HAVE EXPERIENCED JUST SO MANY HURDLES, AND OBSTACLES, THAT HAVE CLEARLY GOTTEN EASIER FOR US NOW, THOUGH, THEY ARE, WE STILL HAVE SO MANY ROAD BLOCKS, AND TO FEEL THAT, YOU KNOW, I WAS THE ONLY BLACK WOMAN IN AMERICAN BALLET THEATER FOR OVER A DECADE AND I'M SITTING THERE THINKING LIKE THIS IS SO HARD FOR ME, AND I'M FIGHTING, AND THEN I WATCHED THIS AMAZING WOMAN SHARE HER STORY.

SHE DANCED FOR A SHORT PERIOD OF TIME WITH THE BALLET ROUSE BECAUSE HER LIFE WAS THREATENED BY THE KKK AND THAT IS WHAT THREATENED HER CAREER AND TO SEE HER STRENGTH AND SHE WAS SO CLEAR ABOUT HER IDENTITY AND WHO SHE WAS AND WANTING TO BE PERCEIVED AND WANTING TO DO WHAT SHE LOVED, AND IT IS VERY EASY FOR A BLACK DANCER ESPECIALLY DURING THAT TIME TO BE PRESSURED INTO, YOU KNOW, PASSING, THEY SAY.

AND THAT WAS NOT SOMETHING THAT SHE, SHE WAS GOING TO DO.

AND I JUST RESPECT HER EVEN MORE.

AS A DANCER, AND ABSOLUTELY THE PERSON I GOT TO KNOW, AND I NEVER IMAGINED THAT I WOULD ACTUALLY BECOME LIKE A VERY CLOSE FRIEND OF HERS.

WHAT WAS THAT LIKE FOR YOU, WHEN YOU FIRST MET HER, WHEN YOU FIRST HAD THAT OPPORTUNITY AND NOW YOU KNEW WHO SHE WAS, AND WHAT SHE HAD DONE AND YOU SAW WHERE YOU HAD GOTTEN NOW, WHAT WAS THAT FIRST REACTION TO HER?

WELL, IT WAS JUST, I FEEL LIKE EVERYTHING HAPPENED SO QUICKLY, YOU KNOW, TO GO, MY, YOU KNOW, ALMOST ENTIRE LIKE ADOLESCENCE OF TRAINING AS A DANCER, NOT REALLY HAVING THAT PERSON, AND THEN ALL OF A SUDDEN, SHE'S THRUST INTO MY LIFE, AND I'M SO MOTIVATED, AND INSPIRED TO, YOU KNOW, TO BE A VOICE FOR THE BLACK COMMUNITY AND ESPECIALLY THE BLACK DANCE COMMUNITY.

AND THEN I STARTED WORKING WITH MY MANAGER, GILDA SQUIRE, VERY EARLY ON IN OUR RELATIONSHIP, AND I WOULD SPEAK ABOUT RAVEN IN ALMOST EVERY INTERVIEW, AND SHE WAS KIND OF LIKE WHO IS THIS RAVEN PERSON?

AND SHE LOOKED HER UP.

FOUND OUT SHE WAS LIVING.

AND SHE LIVED LIKE A HALF A BLOCK FROM ME.

AND SHE WOULD COME AND SEE ME PERFORM THROUGHOUT MY ENTIRE LIKE EARLY CAREER.

THE FIRST TIME WE SPOKE WAS ACTUALLY LIVE ON A RADIO INTERVIEW TO PROMOTE A PANEL KIND OF DISCUSSION WE DID OF TWO GENERATIONS OF BLACK BALLERINAS AT THE STUDIO MUSEUM IN HARLEM.

SO THE FIRST TIME WE MET WAS AT THE STUDIO MUSEUM.

AND IT WAS SO OVERWHELMINGLY EMOTIONAL.

THERE'S A MARVELOUS PHOTOGRAPH THAT I SAW OF HER COMING ONSTAGE, WITH FLOWERS, FOR YOU, IT WAS ONE OF THE MAJOR PROFESSIONAL HIGHLIGHTS IN YOUR CAREER.

YES.

TELL ME ABOUT THAT, BECAUSE YOU WATCH THAT, AND YOU SAID, HERE'S A PROGRESSION, FROM ONE PIONEER TO ANOTHER.

YES.

I JUST FEEL VERY FORTUNATE THAT I'M SURROUNDED BY A TEAM OF BLACK WOMEN, WHO ARE STRONG, AND THAT UNDERSTAND ALL OF THE IMPORTANT POINTS IN MY CAREER, AND MY MANAGER MADE THAT HAPPEN.

AND THAT WAS A MONUMENTAL MOMENT, THAT I THINK WOULD NOT HAVE JUST BEEN OPEN TO ME, FOR THE FIRST BLACK PRINCIPAL BALLERINA WITH THE HOUSTON BALLET, SHE FIRST CAME ON TO THE STAGE, AND MY DEBUT, AS THE SWAN, QUEEN IN NEW YORK CITY AND SHE PRESENTED ME FLOWERS AND THEN RAVEN CAME OUT AFTERWARDS, AND IT WAS JUST --

YOU KNOW WHAT I'M STRUCK BY?

IN LOOKING, AND I GOT THE PHOTO AND I BLEW IT UP AND YOU LOOK AT RAVEN'S FACE, AND IT IS AS IF SHE IS IN A SENSE, SHE'S NOT HOLDING THE FLOWERS, SHE'S EMBRACING YOU AND WHAT YOU HAVE BECOME, AND THERE IS A REAL SENSE OF PRIDE THERE, AND A SENSE OF, IN SOME WAYS MAYBE OF OWNERSHIP, SAYING THIS IS WHAT I BEGAT, AS IT CAME FROM ME AND IT GOES TO MISTY.

I DON'T THINK SHE WOULD EVER SAY THAT.

BUT THAT'S WHAT I KNOW, AND I FELT, AND I THINK IT'S IMPORTANT FOR THIS GENERATION OF BROWN PEOPLE TO SEE THAT COMMUNITY, AND THAT SUPPORT FROM TWO BLACK WOMEN.

AND IT'S JUST, IT WAS LIKE SHE WAS PASSING ME THE TORCH AND THAT'S WHAT IS SO AMAZING, SHE HAD SAID TO ME, ON MANY OCCASIONS, THAT SHE DIDN'T THINK SHE WOULD EVER SEE A BLACK PRINCIPLE BALLERINA IN A COMPANY OF THIS CALIBER IN HER LIFETIME.

SO FOR HER TO HAVE WITNESSED IT --

THAT'S GREAT FOR YOU TO HAVE DONE IT BUT MARVELOUS FOR HER TO BE THERE AND TO BE WITH US AND HAVE WITNESSED IT FOR YOU.

SHE PAVED THE WAY FOR ME TO HAVE THAT OPPORTUNITY.

LET ME TALK ABOUT OPPORTUNITIES.

AND IT IS A GOOD SEGUE FOR YOU, FOR US TO TALK ABOUT, AND SOME OF THE THINGS THAT YOU'VE TALKED ABOUT, PLACES THAT YOU'VE BEEN, WHERE YOU ARE NOW, I WAS STRUCK BY, IN WATCHING ONE OF THE INTERVIEWS THAT YOU HAD, WHERE YOU HAD TALKED ABOUT, FIRST OF ALL, IT IS INTERESTING, YOU DIDN'T START DANCING UNTIL YOU WERE 13, WHICH IS SORT OF AN ETERNITY AFTER WHAT MANY WOMEN DO, AND YOU TALKED ABOUT THE FACT THAT, YOU KNOW, WE MENTIONED ROAD BLOCKS AND HURDLES AND PEOPLE WOULD LOOK AT YOU AND SAY YOU DON'T HAVE THE BODY FOR A DANCER.

AND I THINK ANYBODY WHO HAS SEEN YOU DANCE, YOU KNOW, HAVE CERTAINLY SAID, WHAT COULD THEY POSSIBLY BE TALKING ABOUT, BECAUSE I CAN'T IMAGINE YOU BEING ANY BETTER AT DANCING.

THANK YOU.

THANK YOU.

WHAT DID THAT MEAN?

AND WHAT KIND OF A HURDLE DOES THAT BECOME FOR YOU?

FASCINATING.

THE REASON THAT I WAS DISCOVERED, AT SUCH A LATE AGE, IS BECAUSE I, THEY WERE LIKE, WOW, YOU HAVE THE BODY OF A BALLERINA, SO THIS IS GOING TO BE REALLY EASY TO GET TO, YOU ARE VERY CAPABLE, I WAS VERY FLEXIBLE, I HAD MUSCLE, LIKE, YOU KNOW, THE RIGHT TYPE, LEAN LONG MUSCLE, I WAS STRONG, AND I WAS HYPER-MOBILE, ALL OF THESE THINGS THAT ARE HUGE ASSETS, BUT THEN I GET TO A POINT LATER IN MY CAREER, WHERE I BECOME A PROFESSIONAL, AND THOSE WORDS ARE BEING USED IN A COMPLETELY OPPOSITE WAY.

SO, YOU KNOW, IT TOOK ME A WHILE TO DECIPHER WHAT THAT LANGUAGE MEANT.

AND I THINK THAT'S SOMETHING THAT EVERY BLACK DANCER HAS EXPERIENCED, YOU KNOW, IT'S A WAY THAT'S ACCEPTABLE LANGUAGE, THAT THE BALLET WORLD CAN USE, TO SAY YOU DON'T BELONG HERE.

KIND OF A CODE.

YES.

AND I MEAN IT MAKES SENSE.

IT'S LIKE, YOU KNOW, IT'S ABOUT OUR AESTHETIC, THAT'S EVERYTHING, SO IT IS NOT WRONG TO SAY LIKE I'M SORRY YOU JUST DON'T HAVE THE RIGHT LOOK, BUT THAT'S BEEN USED AS A WAY TO KEEP BLACK AND BROWN BODIES OFF THE STAGE, ESPECIALLY IN MAJOR CLASSICAL COMPANIES.

I'VE BEEN VERY COMFORTABLE WITH BRINGING THAT DISCUSSION TO THE FOREFRONT, BECAUSE I THINK IT'S SO IMPORTANT AND NECESSARY TO HAVE.

AND YOU KNOW, JUST TO BE UP FRONT AND HONEST ABOUT, YOU KNOW, MY EXPERIENCES, AND OF COURSE, I HAVE TO TAKE CARE OF MYSELF, AS AN ATHLETE AND AS A DANCER, AND THIS IS MY INSTRUMENT AND IF I DON'T HAVE IT, I CAN'T DANCE, AND SO IT IS IMPORTANT TO BE HEALTHY, AND TO TAKE CARE OF YOURSELF, BUT AT THE SAME TIME, THERE IS ONLY SO MUCH YOU CAN CHANGE ABOUT YOUR BODY, AND MY SKIN COLOR, I CANNOT CHANGE.

SO I THINK IT IS AN IMPORTANT MESSAGE, AND YOU KNOW, THING FOR YOUNG PEOPLE TO SEE.

IN MANY WAYS, YOU ARE AN AGENT OF CHANGE.

YOU WANT TO BE AN AGENT OF CHANGE.

LET ME START FIRST WITH WHEN YOU'RE ON STAGE, AND YOU LOOK OUT, ARE YOU SEEING SOMETHING DIFFERENT NOW, WHEN YOU LOOK OUT INTO THE AUDIENCE?

WELL, WHEN I'M ON THE STAGE AND IN A CLASSICAL BALLET, LIKE IN A THEATER, YOU CAN'T SEE THE AUDIENCE.

IT'S JUST BLACK OUT THERE.

WHICH IS WHY I LOVED IT SO MUCH.

I WAS SO SHY, AND INTROVERTED, THAT I WAS LIKE WOW, I FEEL SO SAFE, I CAN'T SEE ANYONE AND I CAN DO WHAT I LOVE.

SO THAT'S A GREAT THING.

BUT IT IS AFTER THE PERFORMANCES, OR BEFORE, WHEN PEOPLE SHOW ME PICTURES OF THE LINE THAT IS STRETCHING FROM THE STREET IN FRONT OF THE METROPOLITAN OPERA HOUSE, INTO THE BOX OFFICE, THAT THAT'S INSANE, THAT'S A VERY LONG WAY, AND IT'S FULL OF BROWN PEOPLE, AND THAT HAS, I DON'T THINK, HAS EVER BEEN DONE, AT LEAST AT THE METROPOLITAN OPERA HOUSE AND A LOT OF BIG CLASSICAL THEATERS, AND THAT IS JUST, IT'S SO IMPORTANT FOR THIS GENERATION TO SEE THAT THEY'RE WELCOMED IN THOSE SPACES.

HOW ABOUT WHEN YOU'RE ON STAGE AND YOU LOOK AROUND, AROUND YOU, AND BEHIND YOU, ARE YOU SEEING CHANGE THERE, TOO?

NO.

IT'S MUCH SLOWER TO, YOU KNOW, I'M VERY FORTUNATE THAT I'M IN A POSITION THAT, YOU KNOW, I'M SEEN BY SO MANY PEOPLE, AND NOT JUST IN AMERICA, AND SO I THINK IT IS MUCH EASIER TO THEN GET AUDIENCE MEMBERS THAT ARE MORE DIVERSE.

THEY WANT TO SUPPORT YOU AND WANT THEIR CHILDREN, THEY FINALLY HAVE SOMEONE TO SHOW THAT, YOU KNOW, IT'S NOT LIKE THEY CAN TAKE THEIR CHILDREN AND IT'S LIKE WELL WHY AM I GOING TO EVEN PUT THEM INTO THIS FIELD IF THEY'RE NEVER GOING TO SUCCEED.

AND JUST TO HAVE THAT PERSON THAT THEY CAN LOOK UP TO, AND THAT THEY CAN DREAM THROUGH, THAT'S A MUCH EASIER WAY OF GETTING PEOPLE IN THE DOOR, BUT IT'S THE WHOLE SYSTEM AND STRUCTURE OF CLASSICAL DANCE.

WHY AREN'T WE SEEING MORE MISTY COPELANDS?

OH, MY GOSH, IT'S SO DEEP.

IT'S TRYING TO CHANGE SOMETHING, AGAIN, IT IS A EUROPEAN ART FORM, WHICH I THINK THAT WE ARE READY TO BREAK AWAY FROM THAT, AND MAKE IT AN AMERICAN ART FORM, YOU KNOW, THAT IT'S CONSTANTLY EVOLVING, AND I DON'T THINK IT JUST BELONGS TO, YOU KNOW, THE FREN WERE AND THE RUSSIANS AND THE, THE FRENCH AND THE RUSSIANS AND THE ITALIANS ANYMORE, I THINK WE'VE CREATED OUR OWN WAY OF CREATING BALLET, AND AN AMERICAN WAY, SO I THINK THAT IT IS REALLY ABOUT JUST CHANGING PEOPLE'S PERCEPTIONS, AND WHAT'S POSSIBLE, YOU KNOW.

WE'RE SO USED TO THINKING LIKE WHEN YOU THINK OF A BALLET, EVERYONE HAS TO LOOK EXACTLY THE SAME AND DANCING UNISON, AND YOU KNOW, WHEN YOU COME TO THE THEATER, IT'S THIS BEAUTIFUL ESCAPE THAT YOU CAN, IT'S FANTASY, IT'S, YOU'RE CREATING, IT DOESN'T HAVE TO BE SO LITERAL, AND YOU KNOW, WHEN PEOPLE TAKE ON ROLES, THEY, YOU KNOW, THROUGHOUT HISTORY, WHITE DANCERS HAVE PORTRAYED BEING A GREEK PERSON, BEING INDIAN, AND SO WHY CAN'T WE BE ANYTHING WE WANT TO BE, AS BLACK DANCERS, YOU KNOW?

NO ONE IS A SWAN QUEEN.

YOU KNOW NO ONE IS THAT ON STAGE.

SO THAT'S THE POINT OF IT.

YOU'RE CREATING ART.

AND IT SHOULD BE FANTASY.

SO YOU SHOULD BE ABLE TO BE ANYTHING.

BUT IT IS REALLY ABOUT GETTING TO THE ROOT OF THE OPPORTUNITIES, THE FINANCIAL BURDEN, AND JUST BEING ABLE TO BRING DANCE TO THE COMMUNITIES WHERE THEY DON'T HAVE ACCESS, TO HAVE TEACHERS THAT LOOK LIKE THEM, IN THOSE COMMUNITIES, MAKING IT ACCESSIBLE AND AFFORDABLE, BRINGING IN DANCERS THAT ARE OF COLOR, WITHIN THESE TOP COMPANIES, AS WELL.

BUT IT'S LIKE IF YOU DON'T HAVE A LARGE GROUP OF DANCERS THAT HAVE THE TRAINING, THEN THERE'S NO ONE TO CHOOSE FROM WHEN YOU GET TO THE TOP TIERED COMPANIES.

AND IT IS SUCH A DIFFICULT JOURNEY AS YOU KNOW GETTING TO THAT TOP TIER.

RIGHT.

SO IT IS GOING TO TAKE A LONG TIME TO KIND OF REACH THAT POINT WHERE WE START TO SEE A BIGGER CHANGE.

ARE YOU OPTIMISTIC?

DO YOU THINK WE'RE MOVING IN THAT DIRECTION TO SOME DEGREE?

I'M DOING EVERYTHING I CAN AND I WON'T STOP FOR AS LONG AS I'M STILL HERE.

THAT'S LIKE MY MISSION.

AND I'M CONSTANTLY TRYING TO FIND WAYS TO MAKE THAT HAPPEN, AND I THINK THAT THE MORE THAT I, I JUST HAVE A VOICE, AND USE IT IN EVERY, ON EVERY PLATFORM THAT I HAVE, AS WELL AS, YOU KNOW, EMBRACING AND SUPPORTING OTHER BLACK DANCERS, YOU KNOW, THAT I FEEL LIKE I'M JUST A VESSEL, FOR SO MANY DANCERS THAT HAVE PAVED THE WAY FOR ME.

AND FOR FUTURE DANCERS, THAT YOU KNOW, I'M CONSTANTLY SAYING IT IS NOT ABOUT ME, IT'S NOT ABOUT ME, IT'S WHAT I REPRESENT, AND THAT'S WHY I DO WHAT I DO.

WELL, I WILL SAY THIS FOR YOU.

YOU SAY IT'S NOT ABOUT ME, AND I KNOW YOU BELIEVE THAT, BUT I CAN TELL YOU THAT IT IS ABOUT YOU, AND YOUR FANS WILL SAY THAT, THE PEOPLE WHO LOOK TO YOU FOR INSPIRATION, BUT WE LOOK AT WHAT YOU HAVE DONE, AND IN TALKING WITH YOU ABOUT RAVEN WILKINSON, I KNOW YOU ARE CERTAINLY PROUD OF HER ACCOMPLISHMENTS, AND WE KNOW THAT BEFORE SHE LEFT US, AND STILL TODAY, I'M SURE SHE IS EXTRAORDINARILY PROUD OF WHAT YOU HAVE BEEN ABLE TO DO.

I THANK YOU FOR SPENDING TIME WITH US.

YOU ARE AN INSPIRATION TO SO MANY AND SUCH A DELIGHT TO WATCH PERFORM AND TO WALK WITH.

I HOPE WE CAN TALK AGAIN DOWN THE ROAD.

THANKS SO MUCH.

Funders

MetroFocus is made possible by James and Merryl Tisch, Sue and Edgar Wachenheim III, the Sylvia A. and Simon B. Poyta Programming Endowment to Fight Anti-Semitism, Bernard and Irene Schwartz, Rosalind P. Walter, Barbara Hope Zuckerberg, Jody and John Arnhold, the Cheryl and Philip Milstein Family, Janet Prindle Seidler, Judy and Josh Weston and the Dr. Robert C. and Tina Sohn Foundation.

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