And that must be nerve wracking.

it is i hadn't ever thought about it until i worked on broadway and realized that actually there is i think because there's more there's often more money behind a commercial venture and a lot more risk the process is is obviously sort of laid out a bit differently there are usually multiple stages of workshop before you even start thinking about doing, you know, an out-of-town production, which often happens.

I haven't done, I mean, we did do it with American in Paris.

We did it in Paris, which was an unusual place for an out-of-town headed for Broadway, but rather wonderful, obviously, for that piece.

MJ, we didn't out-of-town because...

We ran out of time and money because of the pandemic.

We were supposed to open pre-pandemic, pandemic hit.

I feel I have to, inquiring minds need to know, Chris, how do you do that?

Yeah.

But at the same time, I was fascinated by it, and also just sort of quite newly into my education as a dancer, dancing the works of Balanchine and coming to understand more the art of partnering.

And there was something about these pieces that, that inspired me to kind of want to explore body sculpture, um, the, uh, maybe unlock some of the mysteries in, in the music because they all feel quite story-driven or theme-driven.

So I think, I think that was what drew me to, to these pieces initially.

Then when Polyphonia was a success, having found it quite uncomfortable working with the music, only, only initially, but because once we got going, I remember it was quite a fast process.

We made that ballet quite quickly.

Yeah.

And I went to San Francisco to make Continuum, and I wanted to make one dance in this piece that, um, in a very subtle way suggested the claustrophobia that we all felt in New York at that time, in that moment.