Carolina Ballet’s Madeline Rogers Balances Grit and Grace
Madeline Rogers has flown through the ranks at Carolina Ballet, rising from corps member to principal dancer within four years. A native of Hershey, Pennsylvania, she trained at Central Pennsylvania Youth Ballet and the School of American Ballet, where she won the Mae L. Wien Award for Outstanding Promise (a “meaningful milestone in my training,” she says). Below, Rogers—now in her second season as principal—talks about training with Marcia Dale Weary, her most challenging roles, her favorite post-show indulgence, and more.
What do you enjoy more, performing or working in the studio?
I love performing. I love when everything comes together onstage and everyone’s in the same headspace. I never feel more myself than when I’m onstage. It’s a very vulnerable space to be in.
Your artistic director, Zalman Raffael, is also a choreographer. When you first joined Carolina Ballet, was the fact that you would be creating a lot of new work attractive to you?
It was. I was training at School of American Ballet during the pandemic, and Carolina Ballet was offering online performances. Most were choreographed by Zali, and I loved them, so that was definitely appealing. He’s so fun to work with—he plays around with different things in the studio and is so musical.
Do you find freedom or pressure in creating new roles?
I find freedom in dancing new roles, but pressure in the acting part. Sometimes I struggle with making things look believable. [Margaret] Severin-Hansen, one of our ballet masters, has really helped me become more confident with that. When I danced Belle in our premiere of Beauty and the Beast last May, she helped me with even little things, like touching the Beast tenderly instead of abruptly.
Of your repertoire so far, which role has been the most challenging?
I danced Myrtha my very first season here. I had just turned 19. The technical aspect wasn’t as difficult for me as embodying the character: where to focus and how to have the authority of a queen. I worked with our rehearsal director, Debra Austin, who was herself an amazing Myrtha. The hardest thing was figuring out what worked for me, specifically.
The role I’m doing right now, Lucy from Dracula, is also pretty hard. When I turn into a vampire, I have to open my mouth a lot, like I’m screaming. I’ll have fangs in onstage, and it’ll probably feel more natural with the costumes and sets. But in rehearsal it’s uncomfortable.
In reaching principal dancer, how much was talent and how much was sweat?
A lot of sweat. I’m not super-flexible, I don’t have the greatest feet, but I’ve got motivation and work ethic. At Central Pennsylvania Youth Ballet, we trained from 3:30 to 9:15 pm. I took class on Sundays and did a lot of private lessons, Pilates, and stretching classes. I don’t think I would have gotten where I’m at right now, and at this age, if I didn’t train that hard.
CPYB’s founder, the late Marcia Dale Weary, was your teacher.
Yes. I had Marcia every day from age 5 until I was 14, when I left for SAB. To me she was like my grandmother; I loved that woman—I think about her every day. She pushed me at a young age, but I am so grateful. She really believed in me.
Which accomplishment are you most proud of?
Becoming a principal dancer. Marcia loved Balanchine’s Raymonda Variations; she had us learn and rehearse those solos all through my years at CPYB. And then, last season, we did Raymonda Variations and I danced the principal woman—it was such a full-circle moment. I was promoted during that program, and I felt like Marcia was with me every step of the way.
Have you ever had a worst nightmare onstage?
We were performing Robert Weiss’ Entertaining Angels, which involved a huge cast. There weren’t any wings, and we all came rushing onstage from either side. I completely forgot what I’m doing because there were so many people. I said to my partner, “I don’t know what to do! Tell me what’s next!” I just had to wing it. It felt like 15 minutes, but it was probably three or four seconds.
Do you have a secret nondance talent?
My mom played professional golf and gave me lessons back in the day. At the time I hated it. But my significant other golfs a lot, so I’ll go with him sometimes—and I’ve started to really like it. My mom sees my golf swing now and wishes she would have put me into it! I did a donor event called the Carolina Ballet Golf Classic, and the women on my team were like, “Oh my gosh, you can really hit the ball!”
If you weren’t a dancer, what would you be?
I think I would have been involved in the arts somehow. During COVID, I thought seriously about going to college to become a physical therapist for dancers.
What is your biggest indulgence?
Reese’s Peanut Butter Cups really hit the spot after a long rehearsal day or performance. And ice cream. There’s a local ice cream place here called FRESH, and I love getting the Carolina Crunch flavor. It has Butterfinger and Heath-bar pieces in it.
What is your advice for aspiring professional dancers?
Keep your blinders on. It’s going to be hard not to look at that person next to you with the amazing facility. Maybe you don’t have that, but you have something special in its own way. Also, artistic directors love to see work ethic. Don’t slack off or think things will get handed to you. You always have to be learning and trying to grow.
This interview has been edited for length and clarity.
