The World Premiere of Garrett Smith’s Meet You At Midnight

Posted on April 3, 2026 by Machaela Erdeljac

Acclaimed choreographer Garrett Smith will premiere his newest work, Meet You at Midnight, at Pittsburgh Ballet Theatre’s Spring Mix mixed repertory program taking place April 10-12, 2026 at the August Wilson African American Cultural Center.

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Smith was a professional dancer with Houston Ballet, where he became a two-time award recipient of the New York Choreographic Institute Fellowship. He was also named a Presidential Scholar in the Arts, choreographed for the Netflix television series Tiny Pretty Things and his creation Hypnotic Forces was selected by Pointe Magazine as one of the 12 standout performances of 2023.

Smith is known for creating captivating ballets by drawing inspiration from the artists in front of him, crafting tailor-made movements that play to each artist’s strengths and highlight the best in each individual. Themes in his works frequently include human identity and self-reflection.

We sat down with him recently to ask a few questions about his choreography.

Can you share a bit about your creative process?
Usually, starting with a piece of music that I can’t stop listening to is a good start and a good sign for me. I really like this music I found for this piece, and particularly the middle section of the 2nd movement. It is super fun, and it makes me want to dance! After landing on a music selection, I am immediately put into a creative headspace about what is happening on stage in terms of movement and the number of bodies. The music will dictate the mood, the vibe, the choreographic structure, and movement language that I begin to envision.

From there, I begin building a concept, envisioning a color palette, what the dancers are wearing, and what surrounds the space in a design context. I almost never prepare choreography in advance. Usually just a short phrase to get going on day 1. What is important to me is looking at who I have in front of me, because they are the tools and instruments that will execute the ideas. I try to custom-build ideas to the dancer’s strengths. When I partner people together, I try to consider chemistry and how their energy feels together as a pairing. It isn’t always perfect each time, but it is something I try to tap into.

Once we are all in the studio together, that is where the physical work begins. We build, we play, we create, we explore. It is a process of trial and error, listening to the ideas with the music over and over until something nice forms that feels organic and good. Musicality and detail are very important to me, in addition to helping the dancers unleash something artistic and personal of themselves into the work.

How and when do you title your works?
I think it depends on the concept. Sometimes the title comes right away, or very early on, and sometimes it only comes during the process of rehearsal with the dancers. There are times when I am in the studio using descriptive words for specific intentions, etc. I make jokes and play with those words and then tell the dancers, “oh that was actually a title option,” and then sometimes the spontaneity of that playfulness helps me find it. Or maybe I just did it for a laugh. I usually don’t want the title to be too literal. In this case, with this creation, it came during the process.

How do you select the music for your works?
I am ALWAYS listening to music. I have playlists of pieces I am saving that are probably ready to go for the next 5-10 years. Just sitting here cooking away…

What is your favorite part of choreographing?
There are so many things about choreographing that bring me joy. It is a gift to be able to travel the world, make relationships, and meet artists from all kinds of cultures and backgrounds. I really enjoy developing an artist in front of me in the studio and playing to their artistic strengths.

In general, I think I am creative at heart, and I very much enjoy working hands-on with people. I also find it rewarding to see an audience’s reaction to something I have dedicated my time to, and to see how it can move or touch people. It makes me feel like I am doing something worthwhile that matters.

What do you look for when you select dancers for your works?
I look for individuals who also want to explore, who have a sense of creativity and playfulness. The choreography can only become better when they help me generate ideas I offer them and bounce the creativity back and forth with me. What is also very important is attention to detail and that they are committed and invested. I feel very much that the dancers of Pittsburgh Ballet Theatre are invested in this piece. I feel a hunger and excitement from them.

How would you describe your choreographic style?
Packed with movement, very detailed, very physical, a little sensual, exciting yet sensitive.

Where did you draw inspiration for your piece?
Honestly, it has purely been the music that has driven me. The music is BIG and fun. It really makes me want to dance. There are so many fun rhythms and layers within these pieces by Philip Glass.

What choreographers do you look up to?
Jiří Kylián will always be the one for me. He is the reason I moved to Europe. He showed me who I want to be in the room, and how I want to treat people in the space. I am also very inspired by Crystal Pite, Forsythe, David Dawson, Lightfoot Leon, Marcus Marou, Damien Jalet and Alexander Ekman.

Do you have a favorite ballet among all of the ones you choreographed?

If I can choose one, I take “Reveal.” It is very precious to me.

Get a sneak peek of the dancers in the studio

 

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Mark Godden’s Angels in the Architecture

Posted on March 12, 2026 by Machaela Erdeljac

Pittsburgh Ballet Theatre will premiere Mark Godden’s Angels in the Architecture as part of its Spring Mix production, which will run April 10through 12 at the August Wilson African American Cultural Center in Pittsburgh. This work is a tribute to the dreams of Shaker communities, set to Aaron Copland’s Pulitzer Prize-winning Appalachian Spring. The simplicity in set, costumes and choreography reflects the ease, devotion and unity with which the Shakers lived. The work’s moving exploration of light and darkness and faith and doubt, creates an emotional and visually stunning ballet of spiritual and artistic reflection.

Angels in the Architecture

Creating the Ballet

• Mark Godden first learned about the Shakers through a coffee table book. He became captivated and began researching them further, becoming enthralled by the beauty and simplicity of their lives.
• Around the same time, Godden was frequently listening to composer Aaron Copland’s Appalachian Spring.
• As the resident choreographer of the Royal Winnipeg Ballet, Godden drew on these two inspirations to create the ballet Angels in the Architecture in 1992.

How Shakers are Woven into Angels in the Architecture

• The work is extremely musical and reflects strongly on the Copland score, with the music inspiring the choreography and emphasizing themes of community, simplicity and spirituality.
• Rather than have the dancers actually portray Shakers, Godden chose to embody the spirit of their beliefs through choreography, costumes and set design to visually and symbolically capture their essence.
• Godden also includes one of the Shaker’s famous inventions – the broom – as a symbol of their belief in cleanliness and practicality. The brooms are incorporated into the choreography, as the artists dance with the brooms for part of the ballet and use arm movements that depict the sweeping action of the brooms in another section.
• Included in Angels in the Architecture is the fascinating fact that ”a well-made Shaker broom can stand on its own.” This image inspired the opening of the work, where six brooms stand alone. It is a mesmerizing sight and a powerful way to start the ballet.
• There are many moves that the dancers make that represent Shaker life, including praying hands and choreography inspired by planting crops, cleaning and the movement of a rocking chair.
• The set, designed by Paul Daigle & Mark Godden, includes peg rails on three sides of the stage, upon which the brooms and famous Shaker chairs are hung.
• The costumes, designed by Paul Daigle, are designed to enhance the choreography and also embody the earthy tones of the countryside.
• The lighting, created by Jeff Hurd, is meant to reflect the shafts of clear light that are often cut into traditional Shaker-built meeting halls.

Aaron Copland and Appalachian Spring

About Aaron Copland

• Aaron Copland grew up in Brooklyn, NY, as the son of local department store owners. He always loved music and knew from a young age that he wanted to be a musician. He studied with experts in the field from New York to Paris.
• After a few years of studying music in France, Copland began to think about finding a distinctively American sound.
• Copland is known as a composer of extremely diverse works. He wrote music for a variety of genres, from concert music to collaborative works for radio, film, ballet and opera.
• Copland wrote over 200 compositions, won more than 33 awards and was bestowed with 38 honorary degrees. Some of the awards he received include a Pulitzer Prize, an Oscar, a Grammy, two Music Critics’ Circle Awards and the Presidential Medal of Freedom.

About Aaron Copland’s Ballet Works

• Aaron Copland’s Appalachian Spring is the final work of his ballet series exploring American themes, helping shape a sense of pride and identity by evoking the vast landscape and pioneer spirit that define American culture. Other ballets in this series include Billy the Kid (Eugene Loring) and Rodeo (Agnes DeMille).
• In 1942, Aaron Copland was commissioned by the Elizabeth Sprague Coolidge Foundation to write a ballet score for a Martha Graham choreographed ballet.
• Graham’s Appalachian Spring ballet depicts a pioneer couple’s wedding in 19th-century Pennsylvania. It premiered during World War II and provided a vision of hope, peace and American identity.
• The premiere of the Appalachian Spring ballet took place on October 30, 1944, at the Coolidge Auditorium of the Library of Congress in Washington.

Appalachian Spring Music

• Appalachian Spring famously uses the Shaker folk hymn “Simple Gifts” as its main melodic theme, presenting it in a set of variations that have become iconic in American music. This piece represents themes of simplicity, optimism and rural life, making it a cornerstone of American cultural identity.
• Aaron Copland won the Pulitzer Prize for Music and the Music Critics’ Circle of New York’s award for best dramatic music for Appalachian Spring in 1945.
• Copland re-arranged the ballet music as a continuous suite for full orchestra, which the New York Philharmonic premiered in October 1945. That version, which preserves most of the original ballet’s music, is eight minutes shorter than the ballet version. It is the form in which we usually hear Appalachian Spring today, including in Angels in the Architecture.
• Today, Appalachian Spring is recognized as a pillar in American classical music.
  

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  Artists of Pittsburgh Ballet Theatre | Photography: Justin Merriman

Adam W. McKinney and Barbara Bears Discuss Their Experiences Performing Three Preludes

Posted on February 17, 2026 by Machaela Erdeljac

Pittsburgh Ballet Theatre (PBT) will perform Three Preludes as part of America 250 with the PBT Orchestra, February 20-22, 2026, at the Benedum Center.
This internationally award-winning work was created by Ben Stevenson, O.B.E., in 1969 and is performed to selections of Sergei Rachmaninoff’s “Preludes.” This romantic pas de deux centers on two dancers who fall in love while dancing in a ballet studio. The three movements develop in both speed and intensity as the dancers’ emotions evolve into passion.

Both PBT’s artistic director, Adam W. McKinney, and rehearsal director, Barbara Bears, have performed this work as dancers. Adam performed it during his time at Milwaukee Ballet, and Barbara performed it while dancing with Houston Ballet. We asked them to discuss what it is like to perform this classic ballet.

When and where have you performed Three Preludes?
Adam: I performed Three Preludes with Tatiana Jouravel-Malinkine at Milwaukee Ballet.
Barbara: I performed Three Preludes with Mark Arvin when I was in the Corps de Ballet at Houston Ballet around 1990 or 1991. I performed it every few years after that until I retired and even staged it once.

What was the experience like?
Adam: Learning and performing Three Preludes left an impression on me. Ben so effortlessly crafted the choreography to fit the music, making the movement circulate through the body; every moment seemed to hang on Rachmaninoff’s every note. The learning process was not easy. I recall that, during the first week of learning the ballet, because my muscles were so sore, I started our daily barre with a heating pad plugged into the wall socket next to my barre spot. For the male character, the partnering work relies heavily on strength, ensuring that the female has the freedom to extend past the limits of what she can do herself. For me, that is the essence of partnering — how far can we push the boundaries together as a unit? How can we express, expand together?

What was the most challenging part of the ballet?
Adam: The most challenging part of the ballet for me was transitioning from the second movement to the third movement. I remember being in the wings and being disoriented by the energy we had amassed — the pianist and us together. The lights rose, and Tatiana and I whisked each other onstage. It was a beautiful (and funny!) moment.
Barbara: It’s 13 minutes long, with three pas de deux, so you just don’t stop dancing the entire work. It also feels very intimate, and you need to convey the emotions realistically as a person, not dramatically, so it takes a bit of an emotional toll.

Where does it rank on your list of favorite ballets you have performed?
Adam: Three Preludes, of all pas de deuxs that I have danced, definitely ranks high on my list. It is a ballet that stands on its own and can be excerpted as well (as we have done for PBT’s annual outdoor performance, “Ballet Under the Stars” at Hartwood Acres), which speaks to the genius of Ben’s choreography — simple, beautiful, not over-adorned, real.
Barbara: I love the simplicity of Three Preludes. I enjoy performing it, and it is a sentimental ballet for me, but I always have difficulty ranking my favorites.

What is it about Three Preludes that makes it special and memorable?
Barbara: The narrative of the experience of first love and falling in love across a room is so romantic. People can relate to it because almost everyone has fallen in love. The audience gets interested in the story and wants to see what happens. It is not flashy, but rather memorable and emotional.

Why did you select it as part of America 250 with the PBT Orchestra?
Adam: Three Preludes was Ben’s first ballet that he created in the U.S. The ballet, in many ways, speaks to the important work of non-U.S. residents in our country and their impact on our society through arts and culture. It was important for me to highlight Ben’s work to represent and honor the work of immigrants in this way.
Barbara: I recommended it to Adam because it is simple and PBT has not performed it before. Adam and I both enjoyed dancing it, so it seemed like a good fit.

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Additional Photos of Barbara Bears performing Three Preludes with Houston Ballet

Paul Taylor’s Company B

Posted on February 10, 2026 by Machaela Erdeljac

PBT Brings the Excitement and Trepidation of the 1940s to the Benedum in Company B

Company B, a nostalgic and poignant tribute to the World War II era choreographed by the renowned Paul Taylor, will be performed by Pittsburgh Ballet Theatre as part of America 250 with the PBT Orchestra. This production will take place at the Benedum Center from February 20 through 22, 2026.

A few weeks ago, PBT was joined by Paul Taylor Company repetiteur, Patrick Corbin, who staged the dance with PBT artists. Corbin was a dancer with the Paul Taylor Dance Company beginning in 1989. Company B, one of Paul Taylor’s seminal works, was the first production in which he danced with them. He performed the solo role of Johnny in “Oh Johnny, Oh, Johnny, Oh!” Corbin sat down with us to discuss the ballet, its background and the meanings and inspirations behind it.

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The original production of Company B, which premiered on June 21, 1991, was commissioned by the John F. Kennedy Center for the Performing Arts and the Houston Ballet. The ballet skillfully conveys not only the exuberance of the 1940s but also weaves the dances with images of soldiers leaving for World War II, many of whom would never return. Taylor seamlessly blends popular 1940s social dances—including the jitterbug, lindy and polka—with his signature modern dance style to create this emotional ballet.

According to Corbin, Paul Taylor typically created one “light” dance and one “dark” dance each year. This was the first work in which he combined light and dark elements. The ballet builds with a dynamic of rising action, peak and falling action, bookended by the same song, creating different emotions. Initially, Taylor wanted the choreography to be solely his trademark modern style, but as the piece developed, swing and jazz elements were naturally incorporated to fit the music. The overall work incorporates a variety of dances, including ensemble pieces featuring the entire cast, solos, pas de deux and smaller groups. The work consists of 10 sections, each set to a different Andrews Sisters song:

• Bei Mir Bist du Schön (opening)
  • Taylor uses this ensemble dance as both the opening and closing numbers of Company B. They are both ensemble sections. The opening part builds slowly, introducing dancers in silhouette as memories from the mist come to life.
• Pennsylvania Polka
  • This enthusiastic duet examines American exceptionalism and excitement at home during the 1940s, set against a backdrop of war and soldiers dying.
• Tico-Tico
  • This is a fast-paced, high-energy solo that appears lighthearted, but has darker undertones about a soldier with PTSD and wartime stress trying to keep it together.
• Oh Johnny, Oh Johnny, Oh!
  • This upbeat number features a male lead, Johnny, surrounded by adoring women. Johnny is a man who has avoided going to war (possibly by faking an injury, according to Corbin). He is sexy and fun and the women love him. He is also a bit of a womanizer and an overall not-so-great guy.
• I Can Dream, Can’t I?
  • This is a solo about a woman longing for a soldier stationed overseas, while he finds comfort in the arms of another soldier. This look at intimacy during wartime pushed the limits of gay roles when Taylor created it more than 35 years ago. Taylor was inspired by a photo of Judy Garland looking lovingly at Clark Gable.
• Joseph! Joseph!
  • This is a playful song with women chasing after men that ends more somberly with a woman grieving over a man’s body. Taylor’s formal choreographic prowess is especially evident in this piece. Corbin considers this the choreographic heart of Company B.
• Boogie Woogie Bugle Boy (of Company B)
  • This carefree solo features an all-American poster boy soldier who dances happily until he is suddenly and violently shot and killed at the end of the dance. It highlights the dangers and vulnerabilities soldiers face in wartime.
• Rum and Coca-Cola
  • Inspired by the musical South Pacific, this dance features a sassy young Caribbean prostitute and a group of soldiers drawn to her.
• There Will Never Be Another You
  • Taylor romanticizes loss in this haunting duet, featuring a woman dancing with the ghost of her partner, who died in the war. She dances with memories of what her life could have been, evoking deep reflection and nostalgia. Corbin considers this the moral center of Company B, emphasizing its emotional depth.
• Bei Mir Bist du Schön (finale)
  • The closing number begins with an explosion onstage, representing the nuclear bombs dropped on Japan. It indicates that the world has forever changed. It has shifted from joyful idealism to a somber reflection on loss. The characters from the previous dances begin to leave the stage, showing that it is only a memory, until only the “bugle boy” remains.

About Paul Taylor
Paul Taylor (1930-2018) was one of the most accomplished artists this nation has ever produced. He established the Paul Taylor Dance Company in 1954, serving as both a virtuoso performer and a trailblazing choreographer until 1974, when he turned exclusively to choreography. During his 64-year career as a dancemaker, Mr. Taylor helped define and shape the art of American modern dance through a matchless repertoire of 147 works with an extraordinary range of subject matter. One of the world’s leading dance organizations, the Paul Taylor Dance Company is based in New York City and has vast international reach. Under the artistic direction of Michael Novak, who has taken the Company in bold new directions over the past seven years, it continues to innovate, create and transform.

Artists of Pittsburgh Ballet Theatre | Photography: Justin Merriman

The Magic Behind The Might Casey Costumes

Posted on February 9, 2026 by Machaela Erdeljac

Pittsburgh Ballet Theatre will perform The Mighty Casey from February 20-22, 2026, as part of America 250 with the PBT Orchestra. In 1990, PBT collaborated with Performing Arts for Children to create a new ballet based on the famous baseball poem, “Casey at the Bat.” Told in flashback, the story depicts Casey, who famously struck out in Mudville in 1888, redeeming himself 20 years later.

The Mighty Casey costumes are some of the many that former Pittsburgh Ballet Theatre Costumier Janet Groom Campbell created in her 40 years in the role. In more than 200 productions, Campbell has brought to life the visions of countless costume designers and conceptualized and created her own designs for ballets such as The Mighty Casey.

Costumes must be designed to enhance choreography, accommodate movement and withstand constant body contact and quick changes. They must move with the choreography, but still flatter a dancer’s form; yield to partnering, but spring back to shape; appear rich and delicate, but withstand years of alterations and upkeep to be cost-effective for a ballet company.

We asked Janet Groom Campbell to discuss what it was like creating costumes for this iconic baseball ballet.

What was your inspiration for The Mighty Casey costumes?
My first inspiration when designing a ballet is the music the dancers will perform to. In The Mighty Casey, the score was being composed while the costumes were being built. I knew some of the music used in the production was by John Philip Sousa and Stephen Foster, so I listened to that.

I also need to go back in time to the ballet’s period to get a feel for the era. We had two time periods in The Mighty Casey – 1888, based on the poem “Casey at the Bat,” and 1908, based on the poem “Casey – 20 Years Later.” I visited the Carnegie Library and researched the periods and how baseball was addressed during those times. During those time periods, baseball games usually took place in the afternoon. Attending the games was a family affair, and people dressed up. I saw videos of men wearing topcoats and fedoras to the games, and women in dresses, hats and gloves. The catching mitts were more like padded gloves. We made them for the ballet even though they were props.

How did developing these costumes differ from other costumes you have created?
There was considerable excitement about creating The Mighty Casey for PBT in 1990. It was a brand-new ballet for the company. There was strong camaraderie across the PBT team. Every weekend, there was a softball game—a really wonderful time to be at the ballet.

We created separate costumes for the two time periods in the ballet: 1888 and 1908.

• Ladies: In 1888, typical attire included a petticoat, blouse, skirt, jacket, bustle and small hat. In 1908, during the Gibson Girl period, women removed their jackets and bustles and wore larger hats.
• Mudville & Bugville Baseball Teams: The Mudville team uniform consisted of a shirt, pants, collar, belt, bow tie, red socks, an M for Mudville, black jazz shoes and a striped hat. For the Bugville team in 1908, we removed the collar, bow tie and M, and changed the hats to solid red. We made the red hat so it would be period-correct. All hats available at the time had a half-moon in the back to indicate they were modern.
• Rival Baseball Teams: The other nine uniforms in 1888 featured a blue-striped hat and a shirt laced up the front; they also wore blue pants, a belt, blue socks, and black jazz shoes. For 1908, we changed their hats to solid blue and added a front placket to their shirts.
• Children: The little boys wore jackets (removed for 1908), shirts, pants, dark socks and jazz shoes. The little girls wore dresses, tights, hats and ballet slippers. In 1908, one little girl removed her pinafore, and another took off her hat.
• Betsy: Betsy wore a beautiful dress, a belt with a bow, a petticoat, bloomers, pink tights with white feet, white pointe shoes and a straw hat with pink satin trim, flowers and a pink satin bow in the back. In 1908, we removed the bow from her belt and put on a pink silk dupioni coat with trim down the front. We also changed her hat to a straw hat with ostrich feathers and a dove, and added a pink bow.
• Casey: Casey wore the striped uniform for Mudville in 1888, and in 1908, he wore a brown tweed suit, a cream shirt and his red socks. At first, I wanted to have him change his socks, but Lisa (de Ribere, choreographer) and I talked, and she decided to have him wear the socks because it looked like he never took them off, because he was so in love with the game of baseball.

Was one of the costumes your favorite?
I think that my favorite costume was Betsy’s. It was the most beautiful, embroidered organza, and I loved watching that pretty pink bow on the back of her hat dancing along. Betsy was loving, loyal, cute, supportive and she stood by Casey through all the ups and downs of his career.

When you build costumes, how closely do you typically work with the choreographer?
I have always respected choreographers and have done everything I could to deliver what they wanted. I always felt that they were hired to create a great ballet, and their wish was my command. Nothing was ever too hard, too expensive or too time-consuming. I always felt that the more I thought about a ballet, the better the costumes came out. Once I started a new ballet, it was all I thought about until opening night.

What aspects are important to include in costume designs for ballets?
Costumes for the ballet must always enhance every movement of the dancer. They have to fit better than any other costumes. Skirts have to be full circles. Sleeves must be fitted, but not restraining. Lines should be perfect and complementary to movement. Costumes must be comfortable and reliable, with no broken zippers, bent hooks or popped buttons. I always wanted the dancers to look perfect and not worry about anything onstage but their performance.

What is the process of creating a ballet costume?
I sketch and swatch the costume, then pattern, cut and stitch it. I then fit it onto the dancer and alter it as needed. I watch it in rehearsal to see how it moves, then modify it accordingly. After the performance, I clean it, determine the best storage method and inventory it, along with all accessories. I also create a costume “bible” for each production that details how to care for, wear, and alter the costume.

The Mighty Casey is underwritten by the David & Janet Campbell Family Foundation in honor of Janet Groom Campbell.

What Makes George Balanchine’s Stars and Stripes Special?

Posted on January 26, 2026 by Machaela Erdeljac

As part of America 250 with the PBT Orchestra, Pittsburgh Ballet Theatre will perform the Pas de Deux from George Balanchine’s opulent Stars and Stripes. Performances will run from February 20 through the 22 at the Benedum Center.

Balanchine, a Russian-born dancer/choreographer, is regarded as the most influential choreographer of classical ballet in the United States. He is often called the “Father of American Ballet” due to his influence in paving the way for ballet to flourish in America. He is credited with developing the neo-classical style distinct to the 20th century and is well known for his modern yet classical, clean aesthetic. His trademarks include lighter costumes, minimal decor, faster movements, challenging choreography and plotless ballets. Balanchine is credited with creating 465 ballets, which have been performed by nearly every ballet company worldwide.

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10 Interesting Facts About Stars and Stripes:

• Stars and Stripes premiered on January 17, 1958, at the City Center of Music and Drama in New York City.
• George Balanchine choreographed this patriotic, classical ballet as a tribute to his beloved adopted country, the United States of America. Balanchine immigrated from Russia in 1934. He loved American culture and he was extremely proud to become an American citizen.
• Stars and Stripes contains as much pure dancing in 29 minutes as many full-length classical ballets include in 2-3 hours.
• The work is divided into five sections or “campaigns,” each of which uses music from different Sousa marches. The first two campaigns are danced by all women, followed by an all-male campaign as the third section. The fourth campaign is a pas de deux, followed by the elaborate grand finale, “Stars and Stripes Forever.”
• Each grouping of dancers is considered a separate “regiment,” with distinct Americana-based costumes to differentiate the sections.
• Stars and Stripes has played roles in political and cultural moments in history. It has been performed for many memorable occasions, including Nelson Rockefeller’s inauguration as governor of New York, tributes for Presidents John F. Kennedy and Lyndon B. Johnson, the opening ceremonies for the New York State Theater at Lincoln Center, the end of the Iranian Hostage Crisis and the closing ceremony of the Olympics in Los Angeles in 1984.
• The ballet is dedicated to the memory of Fiorello H. LaGuardia, former mayor of New York City and founder of the City Center of Music and Drama.
• There is speculation that the ballet was used as propaganda to cast a positive light on the U.S. during the Cold War. The U.S. State Department even assisted in arranging the ballet’s overseas tour.
• This ballet has an exceptionally large cast of 41, including 27 women and 14 men. With such a large cast, this ballet is not as frequently performed from start to finish. Often, the fourth campaign (the pas de deux) is performed as a showcase piece in mixed rep bills or special events.
• Even though short in length, the choreography in Stars and Stripes is challenging, and the cast must have solid stamina and significant experience to produce this strong work.
  

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  Artists: Tommie Lin Kesten & Colin McCaslin | Photography: Justin Merriman