We all know that dancers have their own unique style. Welcome to our interview with the founders of Barre Trash, Lucas Labrador and Louis DeFelice as they let us in on ballet’s not-so-glamorous side—with honesty, humor, and a sharp eye for merch. In this episode, they talk about how Barre Trash was born, what the name really means, and how their side hustle turned into a platform for both laughter and change. From surviving on dancer salaries to calling out industry nonsense, Lucas and Louis share why they believe humor is a coping mechanism—and a catalyst for reform. Plus: the Yale detour, the realities of multi-hyphenate life, and what they’d put on a T-shirt if they could sum up ballet in one phrase.

You can shop Barre Trash products on the Ballet Help Desk Summer Intensive Essentials Guide or on the Barre Trash website

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Why open a ballet school in San Antonio? Former Pacific Northwest Ballet principals Lindsi Dec and Karel Cruz share what inspired them to found DeCruz Ballet, how their training model stands apart, and where they see their school fitting into the evolving ballet ecosystem. They discuss everything from attracting male students and navigating competition culture, to counseling dancers through audition season and offering guidance on college ballet paths and postgrad training. With honest insight and a dancer-first mindset, Dec and Cruz are shaping the next generation their way.

Learn more about DeCruz Ballet School
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Silas Farley walked away from his performing career while he was arguably at the top of his game. In this thoughtful and deeply personal conversation, Farley—former New York City Ballet dancer and current choreographer, educator, and leader—reflects on his journey through the ballet world. He shares how his cultural background shaped his experience, the pressures of representation, and what ultimately led him to step away from the stage at a young age. Silas opens up about the emotional challenges of transition, the role of faith and mentorship, and why he’s committed to building a more inclusive and emotionally intelligent future for ballet. We also explore how training can evolve without losing its rigor, and what he’d say to a young boy considering dance today. This is a must-listen for anyone questioning what it means to succeed in ballet—and how to define that for yourself.

Learn more about Silas Farley and his curent role as Armstrong Artist in Residence, Meadows School of the Arts at Southern Methodist University.

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In Part 2 of our conversation with Fran Veyette, we dig into the realities of postgraduate training—what kind of “help” programs actually offer (and what dancers should be asking for), how long is too long to stay in a bridge program, and why some dancers move quickly into company jobs while others spin their wheels. We talk about whether dancers are truly company-ready at high school graduation, the myth (or not) of lateral moves, and the sometimes unspoken rules of getting hired. Plus: Fran’s take on college vs. company, how influence really works in hiring decisions, and the most honest advice he’d give to any dancer navigating this path.

This is the real talk dancers and families need before making big decisions.

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Jackie Kopcsak, a founding faculty member and Associate Professor of Practice at USC Glorya Kaufman School of Dance, joins us to unpack what makes USC’s program unique—from its one-of-a-kind curriculum and career planning resources to how students balance ballet, choreography, and cross-disciplinary training. We discuss what the school looks for in applicants, how students launch into professional dance and arts careers, and why USC’s location in Los Angeles opens doors for both training and jobs. Plus, listener questions about applying, balancing multiple interests like musical theater, and whether Kaufman is the right fit for ballet-focused dancers.

Learn more about USC's Dance Program on their website

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Postgraduate ballet training is often sold as the final step before a professional contract—but how much of what dancers and parents hear is actually true?

In this first episode of a two-part series, Fran Veyette joins us to break down the current state of postgraduate programs. We talk about the rise of bridge-level training, how to evaluate the value of doing a second year in a program, and whether the “big name” schools really give dancers an edge. Fran also shares his take on the gender gap in hiring, the role of summer intensives in admissions, and why some dancers sail through these programs while others get stuck in a loop.

This is the real talk dancers and families need before making big decisions.

• Learn more about Fran and Veyette Virtual Ballet School

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Elizabeth Gillaspy and Jessica Zeller of Texas Christian University join us to break down what makes TCU’s dance program unique—from its dual emphasis on ballet and modern, to performance and choreographic opportunities, to how it prepares students for both performing and dance-adjacent careers. They walk us through a typical day of training, the audition and admissions process, and what TCU looks for in prospective students. We also discuss challenges in attracting male dancers, how students spend their summers, and how the faculty helps dancers navigate decisions between college and company life.

Learn more about TCU's Dance Program on their website

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Michael Bearden, Director of the University of Oklahoma School of Dance, joins us to talk about what makes OU’s program stand out. With three distinct tracks—ballet, modern, and pedagogy—OU offers a robust performance schedule, new choreographic opportunities, and wellness support for its students. We dig into the admission process, scholarship landscape, and what career outcomes look like for OU grads. Michael also shares advice for dancers choosing between college and company life, and gives insight into how public university dance programs are navigating ongoing funding cuts.

Learn more about OU's Dance Program

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