Machaela Erdeljac
Costume Director Kristin McClain on The Stories Woven into Dracula Costumes
Pittsburgh Ballet Theatre (PBT) will perform Michael Pink’s Dracula this Halloween weekend. Based on Bram Stoker’s classic Gothic horror story, the production is filled with romance, terror, and peril — all emotions both enforced and reflected in its costumes. Surrounded by dramatic fabrics, PBT’s Costume Director Kristin McLain highlights the stories woven throughout them.
This year, for Michael Pink’s Dracula, PBT rented costumes from Milwaukee Ballet. Along with the actual pieces, McLain and her team received a lookbook with various instructions, photos, and details regarding the production’s costumes; hair and make-up also have a reference sheet in this book. From information on how the costumes are worn to specific details about washing them, McLain and her team use this book as a guide. Explaining that this year’s package didn’t include a few wigs, she shares that the lookbook’s photos will help them recreate the original pieces to the best of their abilities.
Dracula
In PBT’s atrium, McLain holds up Dracula’s coat, illuminated from the light above so that its velvet texture and ombre colors stand out. Melting from a vibrant red into a deep maroon, the coat allows Dracula to blend into his dark surroundings, McLain explains. It is heavy, which gives Dracula a weighted presence but also limits his movement. McLain points to another dresser, where a flowy replica hangs. In one specific scene, Dracula makes a grand entrance with a lot of wind. The lighter, more silky fabric catches it and forces the coat to flutter dramatically behind Dracula. Unlike Dracula’s original cape, this one moves with little hesitation.
The Villagers
Next, McLain turns to a patterned skirt that belongs to one of the Villagers. Very full and heavy, the costume is made of various natural fabrics, such as cotton and linen. Almost as if pieced together, the skirt features beading, small mirrors, and embroidery. It is incredibly detailed. McLain explains that the vibrant colors read very intensely on stage, a reflection of Jonathan Harker’s severe warnings about Dracula.
Dracula’s Brides
McLain’s passion shines through with every piece that she chooses to highlight. Picking up a white, torn dress, she contextualizes its tattered fabric by describing one of the Bride characters who wears it —a woman who turns into a wild vampire. She points out a collection of coins on the waistband, threading a connection between the shiny artifacts and potential background stories. The individual elements, she says, make her wonder about the women- who were they before they were vampires? She speculates that they may have once been villagers themselves, given their costumes’ similar embellishments.
The Undead
The Undead’s costumes are McLain’s favorites; she describes them as “super-fun”. Ripped to shreds, the costumes reveal the artist’s hand and process. They also, despite seeming to be the same black color, reveal various purples, blues, browns, and greens under the stage lights. According to McLain, an inherent black color does not exist- it is the darkest version of another color. Enhanced by the fabric’s texture, this becomes apparent when on stage.
Renfield
Renfield’s straitjacket toward the end of Dracula is based on a historical design. “It is probably the most intense costume I’ve ever dealt with,” said McLain. There’s really no way to replicate being in a straitjacket, so they start rehearsing with it early in the process.
Tea Room Scene
This scene includes historical dresses, suits and vests from the late 1800s. The dresses are fashionable street clothes, with big skirts. A lot of the costumes are bright airy dress in light colors that signify a relaxing vacation. There is a lot of detail in these costumes, including lace, which indicated wealth during that era.
“I always sewed growing up,” McLain recalls. In addition to resonating with the idea that clothes are an extension of oneself, she finds that
“In ballet, there’s no dialogue, so you have to rely on the choreography, the emotion of the dance and how the dancer interprets the choreography, but then also the costume can tell you a lot about who they are in the narrative of the ballet.”
McLain shares that she appreciates distressed costumes because she knows what goes into making them —a fun, expressive process. It feels more organic to her to break something down after making it.
She finds that there is a lot of personal choice and storytelling within that, as “Pants are never just pants, a shirt is never just a shirt, it’s telling you something about the character.”
Experience these costumes in action and under the dramatic stage lights during Pittsburgh Ballet Theatre’s Dracula at the Benedum Center from October 31st – November 2nd.
Who is Dracula and What is it Like to Portray the Iconic Character?
The seductive Count Dracula makes his chilling return to the Benedum stage this Halloween weekend! Based on Bram Stoker’s classic horror story, Pittsburgh Ballet Theatre (PBT) is performing Michael Pink’s Dracula from October 31 – November 2, 2025. With Halloween quickly approaching, we spoke to PBT Principal Artist Lucius Kirst, who will portray Dracula on Saturday, November 1st at 2:00 p.m. Sharing exclusive insights into the thrilling production, he gives us a peek into the preparations for the spellbinding ballet.
What’s it like portraying Dracula?
It’s always fun to be the title character in any ballet, and he’s such an iconic character. The costumes are awesome for him as well which always makes roles feel cooler. I remember when we did the photo shoot and I first put on the red jacket, I was already excited to play him before having seen any of the choreography. Dracula is my first major role that would be deemed a villain, and he’s the ultimate villain to portray. He gets to kill and die onstage, there’s blood, fights and vampires— it’s a dream role.
How would you describe the character of Dracula?
He has the ultimate power (he thinks, at least), which is an unlimited amount of time. Obviously, he has other powers like his supernatural strength, his ability to turn people into vampires etc., but the unlimited amount of time is the most informative to dancing the role. He never has to hurry anywhere, since he has all the time in the world; everything is calm and smooth, and the choreography reflects that brilliantly. There’s an eerie, quiet power in his stillness. He’s a complex character, because the curse of unlimited time is that he inevitably loses everything he loves. He seems unable to learn from his pains of the past, and repeats the process by falling in love again with Mina.
What is it like to do more of a dramatic ballet?
There’s a lot of drama in many of the classic ballets, but this adaptation of Dracula centers around the drama of the story. There’s not just dancing for the sake of dancing, everything furthers the storytelling. It’s a more complex story to tell than a lot of the classical ballets, so there’s a heavier focus on the acting. Many of the scenes with less dancing and more acting and pantomime are actually much harder to learn, remember and rehearse than the dancing for me.
What is your favorite scene?
It’s a scene towards the end of the ballet in Act Three, when Dracula brings his bride-to-be, Mina, onstage with all the Undead. It’s the penultimate scene. Dracula thinks he’s gotten everything he wanted, and he simply walks around the stage with Mina. It sounds simple, but the music is a beautiful piece of choral music, the costume is amazing and there’s an intense energy onstage. It’s when I feel that Dracula is at his most powerful. You also know that all your hardest dancing is done, so you get to just enjoy the moment and soak it all in without any nerves or looming pressures.
What personality characteristics of Dracula are the most fun to portray? The least fun?
Honestly, they’re all pretty fun. He’s a great character to play, and the choreography facilitates that. There are a lot of aspects to his character that aren’t common in other ballets. Obviously, you can always bring something new to any role, but it’s such well-thought-out and thorough choreography that, almost just by doing the steps as they’re taught, you’re portraying a fully formed character.
Do you consider Dracula to be romantic or seductive?
I suppose he must be a little bit romantic. Some part of him is still human enough to remember what love is, since he falls in his version of love with Mina. I think he looks at most people primarily as a food source, however every once in a while, he comes across someone special. Perhaps they remind him of his first love. He has a certain power of seduction, it’s hard to say how much of that is magic and how much isn’t. In the real world, he has no magic, but his story has enraptured people for more than a century.
PBT Artists’ Summer Vacations!
Each year during June and July, PBT Company artists have a well-deserved summer break before the new season begins. Some of the PBT artists shared the different ways they spent their breaks outside of the PBT studios during the summer of 2025!
Join us for our upcoming 2025-26 Season beginning in October. The schedule includes:
Dracula, October 31-November 2, 2025, Benedum Center
The Nutcracker, December 5-28, 2025, Benedum Center
America 250 with the PBT Orchestra, February 20-22, 2026, Benedum Center
Spring Mix, April 10-12, 2026, August Wilson African American Cultural Center
A Midsummer Night’s Dream with the PBT Orchestra, May 15-17, 2026, Benedum Center
Christian García Campos
PBT Corps de Ballet
With JoAnna Schmidt (PBT Soloist)
“My favorite highlight of this summer was traveling and exploring Croatia with one of my best friends and coworkers, JoAnna Schmidt, what an incredible trip from the views, to the food, to the company!”
Jack Hawn
Corps de Ballet
With JoAnna Schmidt (PBT Soloist)
“I participated in the Pittsburgh Dance Workshop, which had its inaugural performance this summer. Joanna Schmidt (PBT Soloist) choreographed the work that she and I performed in the show.”
Photos by Gretchen Hurd
David O’Matz
PBT Soloist
“My favorite activity of this summer was traveling to the Bay Area and dancing at Julia Adam Dance with my colleagues. There, we performed a contemporary version of George Orwell’s Animal Farm choreographed by Julia and Oliver Halkowitch.”
Grace Rookstool
PBT Principal
With Ariana Chernyshev (PBT Corps de Ballet)
“Ariana and I traveled through France for the first time together! This trip was so special in so many ways, we’re already planning next summer’s adventure.”
JoAnna Schmidt
PBT Soloist
“The first week after the season ended, I was honored to have 9 PBT company dancers perform with me in my choreography for William Moore’s Cre8 Dance Competition! It was a fun and fulfilling experience!”
Kurtis Sprowls
PBT Corps de Ballet
“I participated in JoAnna Schmidt’s work for the Cre8dance show in Pittsburgh in June, then traveled to California to dance with Julia Adam Dance, along with my colleagues Hannah Carter, Lucius Kirst and David O’Matz.”
Diana Yohe
PBT Soloist
“My husband Joe and I spent the summer ‘nesting’ and preparing our home for the arrival of our little one. It truly has already taken a village of our family and friends and has made us realize how very blessed we are with the people who surround us!”
Ballet Under the Stars 2025 Casting Announced
The casting for Pittsburgh Ballet Theatre’s annual Ballet Under the Stars performance at Hartwood Acres has been announced! PBT will be performing at Hartwood Acres on Sunday, August 24 at 7:30 p.m. as part of Allegheny County’s 2025 Summer Concert Series. The outdoor performance is free to attend and open to the community. Register for free before attending for a chance to win a 5-ballet subscription to the 2025-2026 season.
Attendees are invited to arrive early to enjoy picnics, food trucks and free kids’ stations, including grab-and-go crafts, face painting, balloon art and a dance class led by PBT team members.
From 5:30 to 7:30 p.m., PBT will host a pre-show Picnic in the Park. Join fellow ballet enthusiasts and PBT’s artistic director, Adam W. McKinney under the tent for drinks, dinner and the opportunity to meet PBT artists. Tickets are $100 for adults and $25 for children. Register online or call Associate Director of Development Aziza El Feil at 412-454-9127 for more information.
As the sun sets, PBT will present a mixed repertory performance featuring classical and contemporary works.
Emeralds Pas de Deux
Choreography by George Balanchine | © The George Balanchine Trust
Artists: Grace Rookstool and Lucius Kirst
The Mighty Casey Excerpt
Choreography by Lisa de Ribere
Pitcher: Josiah Kauffman
Casey: Jack Hawn
Artists: Emry Amoky, Jonathan Breight, Ethan Clarisey, André Gallon, Matthew Griffin, Isak Sorenson, Kurtis Sprowls and Michael Stadherr
Stars and Stripes Pas de Deux
Choreography by George Balanchine | © The George Balanchine Trust
Artists: Tommie Lin Kesten and Colin McCaslin
Three Preludes Excerpt
Choreography by Ben Stevenson
Artists: Hannah Carter and Lucius Kirst
Angels in the Architecture Excerpt
Choreography by Mark Godden
Artists: Emry Amoky, Magnoly Batista, Ariana Chernyshev, André Gallon, Madeline Gradle, Jack Hawn, Abigail Huang, Josiah Kauffman, David O’Matz, Madison Russo, JoAnna Schmidt and Kurtis Sprowls
Emeralds Pas de Deux
Choreography by George Balanchine | © The George Balanchine Trust
Artists: Hannah Carter and Colin McCaslin
Emeralds Pas de Trois
Choreography by George Balanchine | © The George Balanchine Trust
Artists: Tommie Lin Kesten, Josiah Kauffman and JoAnna Schmidt
Dracula Vignette
Choreography by Matthew Griffin (PBT Artist)
Dracula: Isak Sorenson
Brides: Anya Chiu, Amelia McGravey, Grace Rookstool
Finale
Choreography by Madison Russo (PBT Artist)
Artists: Emry Amoky, Magnoly Batista, Jonathan Breight, Erin Casale, Ethan Clarisey, André Gallon, Christian García Campos, Madeline Gradle, Jack Hawn, Abigail Huang, Kurtis Sprowls, and Michael Stadherr
Photos: Aviana Adams, Michael Henninger & Justin Merriman
Celebrating Juneteenth
Pittsburgh Ballet Theatre is committed to increasing equity, access and opportunity in the art of ballet. We believe that bringing together people with diverse perspectives, histories and life experiences will make ballet richer, stronger and more innovative, resulting in vibrant experiences for all. As part of this commitment, PBT is supportive of Juneteenth events in the greater Pittsburgh area.
Juneteenth National Independence Day, is an annual holiday in the United States that is celebrated to commemorate the end of slavery in the United States. It celebrates June 19, 1865, when Union soldiers arrived in Galveston, TX, with news that the Civil War had ended and that enslaved African American people were free due to the Emancipation Proclamation.
According to Juneteenth.com, “Local and national Juneteenth take place around June 19 with the goal to promote knowledge and appreciation of African American history and culture. Juneteenth celebrates African American freedom and achievement while encouraging continuous self-development and respect for all cultures.”
Companies, arts organizations and professionals across the country often commemorate the holiday with performances, events and exhibits highlighting Black history, art, performers and Black-owned businesses. Pittsburgh has vibrant Juneteenth celebrations throughout the end of June that we hope everyone will enjoy.
Pittsburgh Juneteenth Events From June 19 To 22, 2025
Western PA Juneteenth Festival, June 19-22
Free Outdoor Concert Series every evening,
4:00-10:00 pm | Mellon Park
Juneteenth YouthFest, June 19-22
Youth sports tournaments and hands-on activities for kids and teens.
9 am-4 pm | Mellon Park
Juneteenth Cinema in the Park, June 16-21
Free outdoor movies in Pittsburgh parks at dusk. Schedule:
- Monday, June 16, 2025, Banksville showing “Soul”
- Wednesday, June 18, 2025, Schenley Park at Flagstaff Hill showing “Fences”
- Wednesday, June 18, 2025, Schenley Plaza showing “Fences”
- Friday, June 20, 2025, Arsenal Park showing “Soul”
- Saturday, June 21, 2025, Grandview Park showing “Soul”
- Saturday, June 21, 2025, Riverview Park, at the base of the Observatory, showing “Fences”
Juneteenth Boat Party on the Gateway Clipper, June 19
10:30 pm-1:30 am
Tickets here
August Wilson African American Cultural Center
Performance by the Legacy Arts Project, blending rhythm, movement, and storytelling rooted in the African diaspora.
Intermission: Juneteenth, June 19 | 6:00 -10:00 pm
Juneteenth Celebrity Softball Game, June 20
Annual Juneteenth Negro League AmateurBaseball Exhibition with local activist and community leaders in honor of the Pittsburgh Negro League Teams – the Pittsburgh Crawfords and the Homestead Grays.
4:30 pm | Mellon Park Field #3
Juneteenth Freedom Parade, June 21
11:00 am | Parade begins at 5th & Liberty Avenues Downtown
Pittsburgh Year-Round Exhibits Celebrating Black Pittsburghers and History
Year-round exhibits detailing Black Pittsburghers’ lives, histories and contributions to the city and its culture can be found at:
Heinz History Center
“From Slavery to Freedom” Exhibit
This exhibit details more than 250 years of Black history in America and Pittsburgh.
“Pittsburgh: A Tradition of Innovation” Exhibit
- Learn about the Freedom House Ambulance Service, a trailblazing agency that trained Black men and women as paramedics to deliver desperately needed emergency medical care to the Hill District, Pittsburgh’s largest African American neighborhood.
- Step inside Pittsburgh’s premier jazz club, the Crawford Grill, and listen to music from some of history’s most prominent jazz musicians, such as George Benson, Billy Strayhorn, Stanley Turrentine, and Mary Lou Williams.
“Negro League Baseball” Exhibit
In the 1930s and 1940s, Pittsburgh was the center of Negro League baseball and home to two of the Negro League’s most dominant teams – the Homestead Grays and Pittsburgh Crawfords. From 1937 to 1945 the Homestead Grays won an unprecedented nine consecutive league pennants and three Negro League World Series titles.
August Wilson African American Cultural Center
This center frequently hosts celebrations of African American cultural achievements through music, visual art, poetry, literary works, lectures, discussions, film, theater and exhibits. One of its standing exhibits is
August Wilson: The Writer’s Landscape
An immersive exhibit is dedicated to the life and works of Pittsburgh Pulitzer-Prize-winning playwright and poet August Wilson.
Freedom Corner
Located at the intersection of Centre Avenue and Crawford Street in the Hill District, this monument marks a critical point in Pittsburgh’s Civil Rights history. Protests were frequently held here and in 1963, more than 2,000 Pittsburghers departed from here for Washington, DC to watch Dr. Martin Luther King Jr. give his famous “I Have A Dream” speech.
Pittsburgh Ballet Theatre’s Founding Artistic Director Nicolas Petrov
NICOLAS PETROV, PhD
PBT’s Founding Artistic Director | 1969 – 1977
As Pittsburgh Ballet Theatre concludes our 55th Emerald Anniversary celebration, we recognize and honor Nicolas Petrov, Pittsburgh Ballet Theatre’s founding artistic director.
Nicolas was born in Yugoslavia in 1933, and studied ballet in Belgrade, joining Opera Ballet of Belgrade after graduation. At 19, he moved to Paris, where he danced professionally, and worked with many ballet luminaries of the day. He immersed himself in the arts, and honed other talents – he choreographed, directed and produced for ballet, film and television. He founded his own company, Ballet Petrov, and continued to perform with companies across the world.
In 1967, Nicolas and his wife, Mary, also an accomplished dancer, arrived in Pittsburgh to take the helm of the dance program at the Pittsburgh Playhouse. Other local arts organizations also welcomed his talent: the Pittsburgh Opera appointed him choreographer for the company, and Point Park College (now University) invited him to create what is now their nationally renowned dance department. Nicolas is currently Professor Emeritus at Point Park.
During these early years, he began training a corps of dancers, laying the groundwork for a professional ballet company for the city. In 1968, Nicolas met Loti Falk, a Pittsburgh arts patron and philanthropist. She attended a summer performance by the Playhouse ballet company and, while not a ballet lover at the time, she certainly became one after having seen Nicolas’s company of artists. In the fall of 1969, Nicolas and Loti founded Pittsburgh Ballet Theatre.
During his time at PBT, Nicolas brought many of the great classical ballets and dozens of contemporary works to Pittsburgh audiences. He also brought acclaimed artists to dance with and mentor the company – Edward Villella, Violette Verdy, Natalia Makarova, Ruth Page, Leonide Massine, Freddie Franklin and more. And he choreographed and created numerous original ballets, including the nation’s first Romeo and Juliet set to the Prokofiev orchestral score.
In 1977, Nicolas stepped down from his role at PBT to focus on the dance department at Point Park. He later became director of the Dance Division of Fine, Applied and Performing Arts and continued to teach and inspire students for more than 40 years. We are incredibly proud that, 55 years later, we have the capacity to continue the legacy that he first imagined.
PBT’s 2025-2026 Season New Hires
Pittsburgh Ballet Theatre is thrilled to announce five new artists who will join PBT for the 2025-26 season! We had an opportunity to ask them more about themselves and introduce them to Pittsburgh.
Aoi Asano will join PBT as an Apprentice from PBT School’s Graduate Program.
Hometown: Tokyo, Japan
What is one of your favorite things about Pittsburgh? Kennywood
What ballet are you most excited about during PBT’s 2025-26 season? Dracula
What is your favorite ballet? The Sleeping Beauty
What do you enjoy doing when you’re not dancing? I enjoy crocheting.
What’s your guilty pleasure? My guilty pleasure is eating a ton of Korean food all night when I’m exhausted.
What is the first thing you did after you found out you were promoted to being a PBT Apprentice? I first called my parents and my roommate.
Henrique Barbosa joins Pittsburgh Ballet Theatre in 2025 as a Corps de Ballet Artist.
Hometown: Fortaleza, CE, Brazil
What city are you moving from? Houston, TX (Houston Ballet)
What are you most excited about doing in Pittsburgh? Exploring everything new. Coming from a different country, I’ve learned over the years the importance of curiosity and the amazing things that go with it. I seek learning what’s different every day. New landscapes and new foods are usually my go-to, and I know the restaurants in the Strip District and the gorgeous view of the Steel City are going to be my new favorite things.
What ballet are you most excited about during PBT’s 2025-26 season? Company B
What is your favorite ballet? Frederick Ashton’s La Fille Mal Gardée
What do you enjoy doing when you’re not dancing? I have many hobbies. Scuba diving is the most recent one, but I will say that, in general, I love to be out in nature.
What’s your guilty pleasure? I like to put my favorite singer on YouTube while I clean the house, so I can dance and sing along.
Ethan Clarisey joins Pittsburgh Ballet Theatre as a Corps de Ballet Artist.
Hometown: Clarence Center, NY
What city are you moving from? Boston, MA (Boston Ballet II)
What are you most excited about doing in Pittsburgh? Trying new restaurants
What ballet are you most excited about during PBT’s 2025-26 season?
A Midsummer Night’s Dream
What is your favorite ballet? Romeo and Juliet
What do you enjoy doing when you’re not dancing? Thrifting
What’s your guilty pleasure? Doughnuts
Michael Stadtherr joins Pittsburgh Ballet Theatre as an Apprentice for the 2025-26 season.
Hometown: Novi, MI
What city are you moving from? Tulsa, OK (Tulsa Ballet II)
What are you most excited about doing in Pittsburgh? Getting to know the city and culture
What ballet are you most excited about during PBT’s 2025-26 season? A Midsummer Night’s Dream
What is your favorite ballet? The Lady of the Camellias
What do you enjoy doing when you’re not dancing? Doing college classes and generally learning new things
What’s your guilty pleasure? Watching movies late at night
Isak Sorenson joins as an Apprentice Artist from PBT School’s Graduate Program.
Hometown: Duluth, Minnesota
What is one of your favorite things about Pittsburgh? I love how walkable the city is and all of the amazing views.
What ballet are you most excited about during PBT’s 2025-26 season? Dracula
What is your favorite ballet? George Balanchine’s Serenade
What do you enjoy doing when you’re not dancing? Hanging out with my friends and reading
What’s your guilty pleasure? Trash reality TV
What is the first thing you did after you found out you were promoted to being a PBT Apprentice? I found out that I was promoted backstage before a show of The Nutcracker. So, the first thing I did was quickly call my parents and then got into costume!
Celebrating Corey Bourbonniere’s PBT Career
PBT Soloist Corey Bourbonniere completes their tenure with Pittsburgh Ballet Theatre at the end of the 2024-25 Season. We wish Corey all the best for their amazing journey ahead!
Corey danced with PBT for more than 13 years. After graduating from the PBT School Graduate Program in 2012, they joined the PBT company. Corey was promoted to the Corps de Ballet in 2013 and to a Soloist in 2019. They have won numerous awards, including Pointe Magazine’s “Standout Performance of 2019” for “Bernardo” in West Side Story Suite and Pointe Magazine’s “Standout Performance of 2022” for Donald Byrd’s From Other Suns.
Below, Corey remembers some of their career highlights and favorite roles throughout the years.
Ballet: In the Upper Room by Twyla Tharp
Role: Stomper
Year: 2013
“This was the first ballet I performed after undergoing knee surgery. At times, it felt like an uphill battle to get myself in shape to perform it, but this was probably the most transcendent ballet I’ve ever performed. It healed me physically and spiritually. To be one of the stompers gliding around the stage in sneakers was so fun! Shelley Washington (stager for In the Upper Room and former cast member) was a joy to work with.”
Ballet: In the Middle, Somewhat Elevated by William Forsythe
Year: 2014
“I felt so lucky to dance in the opening night cast of this Forsythe masterpiece. I was so green (literally and figuratively) in my third season at PBT, but this ballet pushed me to new heights and stretched the limits of what I thought I was capable of.”
Ballet: The Man in Black by James Kudelka
Year: 2016
“25 minutes. 4 dancers. Cowboy boots. Johnny Cash. Not a whole lot more to add–other than dancing the solo to Cash’s cover of ‘Hurt’ by Nine Inch Nails was a career highlight.”
Ballet: West Side Story Suite by Jerome Robbins
Role: Bernardo
Year: 2018
“It was so fun to marry my musical theater background with my ballet career. Julio Monge (the stager of this work) invited me to audition for the role in Francesca Zambello’s full-length West Side Story at the Glimmerglass Festival, when a scheduling conflict left them needing a last-minute replacement. I had the time of my life performing with some amazing opera and musical theater artists that summer!”
Ballet: Divertimento No.15 by George Balanchine
Year: 2018
“This was the first principal role I had in a Balanchine ballet, and I felt so honored to dance two pas de deux with former soloist artist Marisa Grywalski and former principal artist Amanda Cochrane. It’s one of my favorite ballets I’ve ever danced. It was a moment when I was so thankful to be able to give my community a moment of beauty and escape after the terror that took place at the Tree of Life synagogue earlier that same day.”
Ballet: Petal by Helen Pickett
Years: 2021 and 2024
“This was the very first ballet I performed back at the Benedum Center after the COVID-19 lockdowns. It is a ballet that pushes the dancer to the limits physically, musically and artistically, brilliantly choreographed by Helen Pickett. I remember sobbing as the curtain came down, as I was so thankful to be back on that stage after a year and a half. It felt like coming home.”
Ballet: Giselle by Terrence Orr after Jean Coralli & Jules Perrot, with revisions by Marius Petipa
Role: Hilarion
Years: 2016 and 2019
“Giselle was the first ballet I was ever a part of as a young dancer, and it was my first performance as an apprentice at PBT. Hilarion was my first featured role in a classical ballet with PBT when I was in the corps de ballet, and it was also the first role I performed as a soloist. Suffice to say this ballet has a very special place in my heart. I love the complexity of Hilarion. He’s portrayed somewhat as a villain, but he loves Giselle, and ultimately wants what’s best for her.”
Ballet: Petite Mort by Jiří Kylián
Years: 2015 and 2018
“I grew up watching this ballet, never imagining I’d perform it. It was a huge bucket list piece. Kylián is incredibly musical and inventive in his partnering. Nothing on stage has ever been scarier than balancing a fencing sword on my fingertip over my head as the curtain went up, and being the person that everyone followed for timing as we lowered our blades in unison!”
Ballet: Dracula by Michael Pink
Role: Jonathan Harker
Year: 2023
“Michael Pink’s Dracula feels like you’re in a silent film. It was one of the most theatrical story ballets I’ve ever been a part of. It was so cool marrying my vampire film and TV nerd brain with my ballet career! The twisted seduction of Dracula’s brides and the Count himself was thrilling to portray!”
Ballet: The Nutcracker by Terrence S. Orr
Role: Drosselmeyer
Years: 2013-2024
“I have had many ups and downs with this role, as I was never one who loved dealing with props. It has become my favorite role to revisit every Nutcracker season. While there is so much magic and sleight of hand going on, the driving force in that ballet is the love story between Drosselmeyer’s nephew (the Nutcracker) and Marie. It’s been a real honor playing the sort of narrator in this ballet, filling the shoes of the late, long-time corps de ballet artist Stephen Hadala, former soloist artist Rob Moore and former principal artist Alejandro Diaz (to name a few)–all of whom I watched play the role before me. I often find myself tearing up when the Nutcracker takes his toy head off after the battle scene, and the curse that afflicted his face in the first act is healed. No matter how many times I’ve played that scene, there’s a rush of emotions that comes from years of being able to fully settle into this character. It feels truly magical.”
Photos Courtesy of Corey Bourbonniere & Pittsburgh Ballet Theatre
Celebrating Corps de Ballet Artist Amanda Morgan’s Retirement
Pittsburgh Ballet Theatre Corps de Ballet artist Amanda Morgan will retire from the company on May 18 after the final performance of The Wizard of Oz. Morgan danced with PBT for over nine years in numerous classical and contemporary ballet performances. She graduated with a Bachelor of Fine Arts from the School of Dance at the University of North Carolina School of the Arts. Below, she has reflected on some of her career highlights and favorite roles over the years.
Ballet: Sandpaper Ballet by Mark Morris
Location: On tour in Chicago at Millennium Park
Date: August 2015
“This was my first ever performance with PBT and my first taste of what life could be like as a professional. The summer before my year in the graduate program, Terry asked me and a few other dancers to come and understudy Sandpaper Ballet for the company’s tour to Chicago. Due to a couple of mild injuries, another student and I were given the opportunity to go on tour with the company and perform at Millennium Park. I had so much fun getting to know the other dancers and living out my dream on a professional stage. It gave me even more motivation to work as hard as I could in PBT School to prove that I was the right fit for the company, and by the end of the season, I’d done it! I was offered a contract with PBT in 2016, but that tour is when I knew that this was the place I needed to be.”
Ballet: West Side Story by Jerome Robbins
Role: Rosalia
Date: May 2018
“This show really pushed me out of my comfort zone, because I got the opportunity to sing onstage. I grew up participating in the church choir, but singing solo in a theater the size of the Benedum Center was not something I ever expected to do. Those of us who had singing roles got the chance to work with a vocal coach throughout the rehearsal process, which really helped boost my confidence. I also got to act alongside Julia Erickson, who danced the role of Anita. She was always such a powerhouse in character roles, and I felt like she helped me let go of my nerves and just go for it. In the end, I had an absolute blast.”
Ballet: Divertimento No. 15 by George Balanchine
Date: October 2018
“I was so excited for this ballet when it landed in PBT’s repertoire. Divertimento was one of my first chances at a soloist role with the company. I loved the variation I got to dance. It felt like the perfect balance of the qualities I had to offer at that time, with parts that played towards my strengths as well as parts that challenged my technique. Getting to dance both in the corps and as a soloist meant I got to enjoy every aspect of the music, but what I’ll remember the most is sharing the stage with some of my best friends.”
Ballet: The Great Gatsby by Jordan Morris
Role: Myrtle
Location: On tour in Minneapolis at Northrop Auditorium
Date: September 2019
“I had so much fun on this tour. About a week before we left for Minneapolis, an injury in the company caused a shift in casting, and I was given the opportunity to dance the role of Myrtle. Her character is bold and confident on the surface, but beneath that exterior, she is troubled and lonely. With limited time to dive into the role, I enjoyed the challenge of exploring the full spectrum of emotions Myrtle required. Everyone I danced with was so encouraging and helpful in rehearsals that week. And best of all, I got to perform dying on stage, which is something I’d always wanted to do!”
Ballet: The Nutcracker by Terrence Orr
Role: Marie
Date: December 2018-2025
“The role of Marie has always held a special place in my heart. I feel like her character is one that I can very closely relate to, and after nine years, one that I can embody seamlessly. I started learning the role my first year in the company, and performed it from my third season on. Every year gave me the opportunity to dig deeper and build on what I’d learned the previous season. I cherished working with Marianna Tcherkassky, and her guidance really changed the way I approached character roles. I had the chance to dance Marie alongside three different partners, all of whom were some of my close friends in the company. Each performance was more special than the last, and it’s a role I’m going to miss greatly.”
Ballet: Diamonds by George Balanchine
Date: October 2021
“This was our first mainstage performance after the COVID pandemic in 2020. We had been away from the Benedum for over a year, and the anticipation of dancing on our home stage was palpable. During the finale, the entire company moves around the stage as the music swells to a gentle pause and we all settle into a large formation. Then, altogether, we dance in unison to a Polonaise that evokes a sense of grandeur and pure elegance. Listening to the orchestra and looking out into the audience, I was completely overcome with emotions. For that one moment, everything was alright. I was dancing with my closest friends while live music filled the theatre. I was home again.”
Ballet: Duende by Nacho Duato
Date: October 2022
“This ballet was another long-awaited performance from COVID times. We were one week away from our shows when the world shut down in March of 2020, but luckily, Duende ended up in our repertoire again in October of 2022. The movement quality and musicality of this ballet is unlike anything I’ve ever experienced. I felt so beautiful dancing Duato’s intricate choreography. It blended so seamlessly with Debussy’s score that I could imagine myself dancing through a forest, getting lost in the freedom of the movement. Having waited so long to finally perform it on stage, I hold this piece so close to my heart, and it’s one I would dance again if given the chance.”
Ballet: The Exiled by Helen Pickett
Role: Proprietor
Date: October 2022
“Another ballet that pushed me far out of my comfort zone was The Exiled by Helen Pickett. Not only does the choreography border on the extremes of physical capabilities, but I had the privilege of performing one of the speaking roles in the piece. Helen, who demands only excellence from her dancers, forced me to dig deep and truly find my own voice. Having mostly portrayed sweet characters on stage, this was an opportunity to dive into a darker, more sinister persona. As someone who is small in stature and typically more reserved, it was liberating to feel so powerful and intimidating. It really made an impact on me as a performer, but even as a person, portraying something so opposite to myself served as a strong reminder of why we should treat each other with unconditional love and kindness.”
Ballet: Lacrimosa by Annabelle Lopez Ochoa
Dates: May 2021, June 2022, October 2023
Awards: Pointe Magazine Readers’ Choice Standout Performance 2023
“Not every dancer gets the opportunity to revisit a role multiple times in their career, but I was lucky enough to perform Lacrimosa three different years with the same partner, Jonathan Breight. I have a very strong personal connection to the story of this ballet, because it marries both my profession and my faith on stage. From start to finish, the movement paired with the operatic score allows the dancer to experience the gravity of the crucifixion and the hope of eternal life. A beautiful picture of mourning, the dancers never stop moving together. Having worked with Jonathan for multiple years on this piece, we had full trust in each other, which allowed us to take risks without fear. I was so grateful to experience this ballet with him because we both had the same connection to the story. We were praising God together on stage, worshipping with our whole selves through dance.”
Ballet: Allegro Brillante by George Balanchine
Location: On tour in Plano, TX
Date: September 2024
“I danced Allegro in college and was so excited to revisit it during my professional career. After missing out on the Benedum performances due to an injury, I finally got the chance to dance it on tour in Plano, TX, right down the road from my family! This ballet feels so exhilarating to dance. The music is lovely and energetic, the choreography has everything from luscious port de bras to daring petit allegro, and the physical demand of it pushes your body to the absolute limit. The performance was a collaboration with the Plano Symphony Orchestra, and we were right there onstage with all of the musicians. Being in such close proximity to the music was indescribable. It was so special getting to dance for my family that evening, and I’ll keep the memories from that tour with me always.”
Photos courtesy of Amanda Morgan and Pittsburgh Ballet Theatre
Performing Toto: Company Artist Kurtis Sprowls turns Puppeteer for The Wizard of Oz
We are going to discuss what everyone really wants to know about The Wizard of Oz ballet…
How will the role of Toto be portrayed when the show graces the Benedum Center stage May 9-18?
In the 1939 iconic film version of The Wizard of Oz, Toto was played by a female Cairn Terrier named “Terry.” The pup was paid a higher rate than many of the human actors, and performed all her own stunts, actually spraining her paw at one point during filming! Terry’s name was eventually formally changed to “Toto” due to the movie’s popularity.
In Septime Webre’s ballet version of the beloved story and film, Toto is represented by an astonishingly life-like puppet with 19 individual body parts, puppeteered by a PBT artist. This remarkable puppet, along with 26 others that appear in the ballet, was designed by Nicholas Mahon. Toto accompanies Dorothy throughout the entire story, playing an essential role within the plot. There really isn’t anything this pup can’t do, including tail wagging, head tilting and jumping into the characters’ arms. Only time will tell if this adorable puppeteered dog will steal the show!
To answer all your Toto-related questions, we interviewed PBT Corps de Ballet artist Kurtis Sprowls, who puppeteers Toto in PBT’s May performances of The Wizard of Oz with the PBT Orchestra.
Have you had any other roles similar to Toto that so heavily involved working with a prop or puppet?
This role is unique to me because it is completely about the puppet. I haven’t experienced a role like Toto where I am an extension of the prop. It’s been really challenging and exciting to portray.
What is it like to manipulate Toto while still moving as a ballet dancer?
It’s difficult for sure! I’m using my brain in a different way, to where I am not only thinking about what my body is doing, but what Toto is doing and how we are both able to be one. I’m finding new ways to move and interact with Toto and the rest of the cast every day!
How many puppets do you work with in the ballet?
I work with two puppets in this production: a chicken and Toto.
Being used to using your body as your instrument, how long did it take you to get comfortable moving an instrument that goes past your own limbs?
I would say some movements are easier than others. I’m learning more and more every day. Who knows what Toto will be able to do by opening night!
Do you have a dog in mind whose movements you try to mimic as Toto?
Definitely! I try to portray Toto as a cross between Wishbone and Scrappy Doo. A little mischievous, but inquisitive and mission-oriented to get back to Kansas. We also can’t forget, lovable and playful!
Toto is such an integral part of the story. What do you think the audience will enjoy most about the character?
His tail wagging!
See Kurtis and Toto in action!
Come see Kurtis, Toto and the entire cast, along with the PBT Orchestra, in the Pittsburgh premiere of The Wizard of Oz, at the Benedum Center in Pittsburgh, May 9-18!
All About the Wonderful PBT Orchestra
PBT is fortunate to have its own orchestra since 1987, which consists of professional musicians from all over the country. Those who don’t live in Pittsburgh fly here twice per year to provide live musical accompaniment for PBT productions. We all know that ballet is better with live music, and we’re proud to have these amazing musicians in our PBT family.
Audiences will have an opportunity to hear the PBT Orchestra play live with the Pittsburgh premiere of The Wizard Of Oz, May 9-18 at the Benedum Center.
Our Conductor
Charles Barker is the music director and principal conductor for the PBT Orchestra. He is also the principal conductor of American Ballet Theatre, a position he has held for over 25 years. Barker was music director of the Australian Ballet from 1997 to 2001, then joined the Royal Ballet in London for two seasons. He regularly guest-conducts for San Francisco Ballet and Houston Ballet. As music director of the American Chamber Orchestra from 1981 to 1987, he made his Carnegie Hall debut in February 1983. He was a member of the Barnard-Columbia Ancient Drama Group, which presents Greek drama in the original language, and wrote music for productions of The Bacchae, Hippolytus and Heracles. Barker lives in New York with his wife, Miranda Coney, former principal dancer of the Australian Ballet, and their two boys.
Production Week for the PBT Orchestra
While our company artists move their rehearsals to the Benedum Center and our production team readies the technical elements of each performance, the PBT Orchestra is hard at work perfecting the music for the production. Below is a peek into what a typical production week, the week before opening night, looks like for them.
Before Production Week: The PBT Orchestra members receive their sheet music at least 30 days before rehearsals start. Yoland Collin, PBT’s principal company pianist, music administrator and PBT Orchestra manager, accompanies PBT artists on the piano throughout their rehearsal process.
Monday: The conductor, Charles Barker, comes to the Byham Center for Dance | PBT Studios, and watches a run-through rehearsal of the production, during which Yoland shares any tempo changes, stage cues, steps to follow, etc. with Charles. Charles then conducts Yoland on the piano for another run-through rehearsal. The first PBT Orchestra read, which is playing the score all together for the first time, takes place that evening at the Benedum.
Tuesday: Charles watches and conducts another run-through with piano at the Byham Center for Dance | PBT Studios. That evening is the second PBT Orchestra read at the Benedum.
Wednesday: PBT artists move into the Benedum for the technical rehearsal on stage (called the piano-tech). During this stop-and-start rehearsal, various elements of the production are assembled, including scenery and costume changes, props, blocking/spacing for the PBT artists and lighting adjustments. The show is run in order, but the production team takes time to stop and adjust things that don’t work. Sometimes scenes are repeated with another cast to allow them to try everything out for themselves. At this point, the PBT artists are still accompanied by Yoland on the piano while Charles conducts.
Thursday: Everyone comes together for the dress rehearsal at the Benedum. This is the first time the PBT artists hear – and dance with – the PBT Orchestra! The run-through doesn’t stop unless something significant needs immediate attention.
Friday: Opening night!
Performing with the Orchestra
We asked our conductor, Charles Barker, and a few PBT Orchestra members for their thoughts about what it is like performing in the PBT Orchestra. PBT Orchestra members we interviewed include:
- Linda Fisher, Principal Bassoon
- David Lintz, Principal French Horn
- Anne Victoria Nasevich, Violin
- Karen Sloneker, Trumpet
What is the most challenging part of accompanying a ballet performance compared to a traditional concert performance?
Charles: “Ballet and opera are theatre. It is an entirely different and non-comparable plane to a concert performance. Theatre has many, many components that concerts lack. Concerts have the advantage of singling out only the music as the most important element.”
Linda: “The most challenging part of ballet, as opposed to straight orchestra programming, is the length of the programs. Many productions are 2-2.5 hours with full orchestration.”
Anne Victoria: “The most challenging part of accompanying a ballet performance compared to a traditional concert performance is the ability to adapt. Musicians in a traditional concert also need to adapt to the musicians around them, but ballet is different in that the dancers are the soloists and the musicians accompany them. If the dancers change anything during a performance, we as the orchestra have a responsibility to play as one with the conductor, who oversees both the dancers and musicians.”
David: “The most challenging aspect of accompanying a ballet performance is perfecting the musical score to be ready with only two rehearsals. For the dress rehearsal, the music must already be performance-ready. The dress rehearsal is the only chance we have to rehearse with the dancers. In a traditional orchestra concert performance, there are usually five rehearsals. In an orchestra concert, there are usually three works performed. A short overture or contemporary work, followed by a concerto, with short breaks between the first work and the concert movements, followed by an Intermission, then a symphony with short breaks between the movements. A ballet score runs continuously with no breaks, much like a movie or opera score.”
What is people’s most common misconception about the orchestra’s role in ballet performances?
Charles: “The PBT audience loves the PBT Orchestra. It is evident in their applause. It is very gratifying to me to know they are so erudite and astute. This is not the case everywhere. I don’t believe our audience members have any misconceptions. They understand the importance of live music in ballet and they support it.”
Karen: “I don’t think that people understand the importance of the orchestra in ballet performance and the role it plays in allowing the dancers to be expressive and musical in their performance. The orchestra, following the conductor, works as an accompanying vehicle, very much like the orchestra accompanying a soloist in a violin concerto. The conductor follows the lead of the soloist, and the orchestra follows the conductor, allowing for greater musical expression in the service of the composer and the choreographer. When dancers perform to taped music, they must accommodate the taped performance rather than the music accompanying the movement. For those reasons, every ballet performance is different. We strive to follow what the dancers are doing, and sometimes that means a last note will be delayed or come along more quickly than the performance before. There is a sense of being part of one enormous musical experience expressed both in sound and movement.”
Linda: “I would say most audiences are not aware of the collaboration between the conductor and the stage. The partnership that sets tempos and then adjusts for each performance for individual artists.”
Anne Victoria: “I think that the most common misconception people have about the orchestra’s role in a ballet performance is when people assume that it is not as important as the dancing. To that, I would say both the dancers and the musicians are equally important, even though one is visible and the orchestra resides in the pit. We work together as a team so that the experience for the audience is amazing and fulfilling, so that they will come back to enjoy more wonderful productions. Everyone who is a part of making any production happen wants PBT to thrive because it is unlikely for one city to have excellence in the Pittsburgh Symphony Orchestra and the Pittsburgh Opera, but also Pittsburgh Ballet.”
David: “Some misconceptions some people may have are how the orchestra adapts to the dancers. Humans are not machines, so dancers may take more or less time for certain dance moves, especially when the cast changes for each performance. This enables the dancers to have more artistic expression when the music is flexible. A live orchestra can adapt if a dancer falls out of sync.”
How much of your performance is about synchronization with the choreography, and how much is about delivering a musical interpretation of the score?
Charles: “Good Question! Ultimately, it’s both. Within the framework of the choreography, I must make music. So I have to first learn the music, then the choreography, then meld them. Sometimes this is extremely difficult, but mostly it is just a matter of me hearing the music in my head over and over and coming up with just the right way.”
What happens if a dancer falls out of sync during a performance? How does the orchestra adapt?
Charles: “Things do go wrong on stage occasionally. It is a live performance. Part of my job is to be alert and aware of even minor deviations in the motions of a dancer in order to lead them or to give them time to catch up.”
Linda: “The conductor follows the core and soloists. They know the artists and the choreography, so they adjust to make it adapt to their performance or to push them. If individual core members are struggling, they will adjust to their lines. I think only soloists are followed so closely as to affect the orchestra. That said, the orchestration will have certain places where the group can allow time or speed up to allow the core to coordinate itself.”
Anne Victoria: “When we are in the orchestra pit, it is very difficult for many of us to see what is happening on stage. It is so critical for everyone to be locked into the conductor at all times, just in case a dancer falls out of sync. We all rely heavily on not only cues but, most importantly, tempi to suit the dancers’ needs.”
How do you collaborate with the artistic director, choreographer and dancers when preparing for a new production?
Charles: “The Artistic Director or the choreographer is ultimately responsible for the performance. My task is to bring their vision to life as concerns the music. In rehearsals, I work closely with Yoland Collin to tie all of the different aspects of a ballet together. This has to do with giving and taking cues, leading and following, and in general, being aware of the overall movement of the ballet.”
How do you prepare for a ballet both before and during Production Week?
Charles: “Preparation before production week is something I can do anywhere. Simply put, I learn the score – usually for memory – so I will be able to direct the PBT Orchestra musicians in the orchestra-alone rehearsals. During production week, Yoland is my key resource for connecting with the specific dancers and managing corners and junctions.”
How much time do you spend preparing for a ballet before Production Week?
Linda: “The prep time is really impossible to answer. Every instrument, every player, has their own strengths and weaknesses. The job of any performer is to present a level where no one knows what’s difficult. One player might have played a part several times, while for another, it could be their first. In addition, all players come from another symphony/opera and then work on the ballet before going to the next production, so most are working on repertoire from several jobs each week.”
Anne Victoria: “Truly, it depends on the ballet and the composer. Personally, I might prepare way too much, but it is beneficial to over-prepare so that I can look up at the conductor frequently and avoid second-guessing the music.”
David: “Orchestra musicians have to practice routines every day to stay in shape on their instruments, before even working on a ballet orchestral score. Lesser-known works must also be listened to.”
What is a PBT Production Week like for you?
Linda: “PBT weeks are very fast from the rehearsals to opening. We usually have two days to read as an orchestra, two dress rehearsals with the stage and then open and play 3-4 shows in a row (as opposed to opera, which is spaced out over 7-9 days, since singers do not perform the next day to protect their voices).”
Anne Victoria: “PBT production weeks are always very fun and exciting. The hardest part for me, which is learning the notes and rhythms, is over and then I can enjoy fitting in with the rest of the orchestra during rehearsals and concerts. Essentially, it is just big chamber music at that point with extremely hard-working and talented colleagues.”
David: “During the ballet production week, all of our other jobs we need to survive must be put on hold or intricately juggled with our other obligations.”
What are some of your favorite ballet scores to perform, and why?
Linda: “My favorite scores are the Russian Ballets – Romeo & Juliet, The Nutcracker, Rite of Spring, which ties into the best part of playing for the ballet. It’s an incredible collaboration of the arts – dance/music and the effect of each on the other. It’s amazing to feel the energy of a live performance. It never gets old!”
Anne Victoria: “Anything by Prokofiev fascinates me, so I would have to say both Cinderella and Romeo and Juliet are my favorites. Even though I am a violinist, I love to hear the brass because when they play, it sounds thick and glorious in the hall. I can almost feel the music in my body at times, and that is a unique sensation. I have heard a lot of people refer to this as the “boom of the hall,” and I couldn’t agree more.”
David: “My favorite ballet scores are the ones of Prokofiev. They are modern, but still accessible for most audiences.”
What is the most rewarding aspect of playing live for a ballet?
Karen: “The most rewarding aspect of playing for ballet sometimes occurs in the intermission. At that point, the orchestra pit is similar to feeding time at the zoo. My most memorable and gratifying experience with this happened during The Nutcracker years ago. A young child dressed in all of her ballet finery looked into the pit, then looked at her mother and exclaimed, ‘Mommy, I wondered where the music was coming from!’ As an early childhood music educator, I saw the future of live music in that child’s wonder.”
Anne Victoria: “The most rewarding aspect of playing live is the audience’s appreciation for not only the dancers but also the musicians. It’s a great thing to stand up at the end of a performance and see all the smiling faces. Live music is an incredible essence that cannot be replaced by recordings, and I feel privileged and grateful to be a small part of the Pittsburgh Ballet Theater Orchestra.”
David: “The most rewarding performances for me are when I sense a connection between the dancers, orchestra and audience. We all become one.”
Live music brings a layer of magic to live ballet performances, allowing audience members to be immersed in the world on stage. Pittsburgh Ballet Theatre considers itself very lucky to have such a talented group of professional musicians in the pit to help bring the Benedum Center to life. We invite audiences to experience the live music of the fabulous PBT Orchestra in The Wizard of Oz this coming May 9-18.
The Wizard of Oz | Movie vs. Ballet
To close our 55th Anniversary Emerald Season, PBT will present Septime Webre’s The Wizard of Oz with the PBT Orchestra at the Benedum Center for Performing Arts, May 9-18. Below is information about this vibrant production and how it compares to the well-known movie!
THE CHOREOGRAPHER
Septime Webre, creator of the ballet The Wizard of Oz, is internationally recognized for his choreography. In fact, PBT has performed his Peter Pan in 2007 and his Cinderella in 2009 and 2013, respectively. He is currently the artistic director of Hong Kong Ballet and was formerly the artistic director of the Washington Ballet and American Repertory Ballet.
A BRIEF HISTORY
The Wizard of Oz film premiered in 1939, and was based on L. Frank Baum’s 1900 novel The Wonderful Wizard of Oz. The movie surprisingly had delayed success and did not profit until its re-release in 1949. Its CBS television premiere in 1956 made it the most-seen movie in history, according to the U.S. Library of Congress. It was especially famous for its use of Technicolor, musical score and lovable characters. The movie is decorated with countless awards and was one of the first 25 movies preserved in the United States National Film Registry for being “culturally, historically or aesthetically significant.”
ABOUT THE BALLET
Septime Webre’s The Wizard of Oz premiered in 2019 and is a true testament to the famous movie and novel. The audience will find the story familiar and easy to follow. While this onstage version includes complex dancing and ruby slippers, it’ll be much more than just taking you home after three clicks of the heels!
The ballet reflects the movie in that it is an absolute celebration of colors. The Wizard of Oz was one of the first movies filmed in Technicolor, and its success helped to usher in the Technicolor age. The ballet’s vibrancy is represented in the set, scenic design and costumes, which make it a true ode to the movie’s Technicolor legacy. It will very likely be the most colorful ballet that PBT has ever brought to the Benedum Center stage!
While the characters’ costumes, choreography and even-themed music help the audience to recognize and follow the story, the characters in the ballet definitely have their own flair. The Tin Man, for instance, has a very distinguishable, stiff quality of movement, but requires much loosening up to dance ballet! While the Munchkins are not of a particular size as they are in the movie, they still showcase the bright personality and energy of the film’s famous characters. The Munchkins start Dorothy down the Yellow Brick Road, which literally comes to life. Poppies lull Dorothy and her friends to sleep by dancing, of course.
Septime Webre grew up frequently reading and playacting The Wizard of Oz with his siblings. As an enthusiast of the novel and movie, it was not only essential to him that the audience’s expectations were met, but that he also brought something new to the story, giving it a fresh perspective. He felt that illuminating the emotional content and themes of friendship and good versus evil was something he could convey successfully through dance. Hear more about his thoughts on The Wizard of Oz.
Pittsburgh audiences will greatly enjoy this well-anticipated story they know and love. Experiencing PBT perform The Wizard of Oz is a way for fans to expand their understanding of the beloved tale, which continues to remind us that most everything you wish for resides within you. The Wizard of Oz should take Pittsburgh by storm, bringing everyone on an exciting adventure and reminding them that there’s “no place like home.”
We invite you to follow the Yellow Brick Road to the Benedum Center to see this iconic story told through ballet, May 9-18!
COMPARING THE MOVIE AND THE BALLET
Dancing:
1939 Movie: Simple, traditional dancing was used in the movie version.
Septime Webre Ballet: The ballet version revolves around complex, beautiful ballet dancing.
Characters:
1939 Movie: It introduced many favorite characters that people still love today.
Septime Webre Ballet: It includes all of the beloved characters from the movie.
Flying:
1939 Movie: Yes, mainly the witches and monkeys fly in the film.
Septime Webre Ballet: Yes, multiple characters fly, including Dorothy, Glinda, Scarecrow, Oz, the Wicked Witch and monkeys.
Music:
1939 Movie: The music was composed by Harold Arlen with lyrics by Edgar Harburg. Famous songs include “Over the Rainbow” and “We’re Off to See the Wizard.”
Septime Webre Ballet: An original score by Matthew Pierce, performed live by the PBT Orchestra.
Color:
1939 Movie: It was one of the first Technicolor movies.
Septime Webre Ballet: Everything is extremely colorful from the sets and backdrops to the costumes and pointe shoes!
Themes:
1939 Movie: The movie themes revolve around home, friendship and knowledge as power.
Septime Webre Ballet: The themes in the ballet include friendship and the struggle between good and evil.
Special Effects:
1939 Movie: Yes, the tornado and flying are among the most well-known.
Septime Webre Ballet: Yes, the ballet has many special effects, including the iconic tornado and impressive flying sequences.
Toto:
1939 Movie: Yes, a real dog is used in the movie
Septime Webre Ballet: Yes, an amazing puppet and robotic dog is Toto in the ballet.
Ruby Slippers:
1939 Movie: Yes! Ruby red heels are used.
Septime Webre Ballet: Yes, beautiful ruby red ballet pointe shoes!
Photos Courtesy of: American Rhetoric, Closer Weekly, Warner Bros. Entertainment, Kansas City Ballet, Medium, Hot Dog on a Leash
The Wizard of Oz Casting Announced
Pittsburgh Ballet Theatre is announcing casting for its upcoming performances of The Wizard of Oz with the PBT Orchestra. This exciting Pittsburgh Premiere will take place at The Benedum Center from May 9 to 11 and 16 to 18, 2025.
Based on the beloved book and film, this whimsical ballet follows Dorothy and Toto down the Yellow Brick Road into Oz. Joined by the Scarecrow, Tin Man, and Lion, they journey to find the Wizard and battle the Wicked Witch. This incredible family event includes all of L. Frank Baum’s signature characters, and brings the Emerald City to dazzling life with imaginative costumes, beautiful sets, special effects, spectacular choreography and original music played live by the PBT Orchestra!
VIEW CASTING BELOW
In studio photography: Aviana Adams
Caili Quan’s Falling Forward
Acclaimed choreographer Caili Quan will premiere her newest work, Falling Forward, at Pittsburgh Ballet Theatre’s Spring Mix: 5 for 55 mixed repertory program taking place April 4-6, 2025 at the August Wilson African American Cultural Center.
Quan, a former dancer with BalletX of Philadelphia and renowned choreographer, is known for incorporating her Guamanian roots into her work. Quan describes her newest work as heavily inspired by the music she selected for the piece. She says, ”Julius Eastman’s ‘Stay On It’ is an incredible score full of joy, gut punches, and the push to keep putting one foot in front of the other.” We sat down with her and asked her about the creative process she uses when choreographing new works.
Please tell me a bit about your creative process.
Music is the main motivation for my work. I usually start with a piece of music that I love and then listen to it on repeat for months leading up to the creative process. I listen to it until I understand every nuance.
I understand that you do not title your works until they are finished, is that true?
I’ve always titled pieces after they’re made. I start with an idea, but the dancers inform the work. I never want to jump the gun on a title before the work is finished because my original idea evolves the moment I start creating on the dancers in front of me.
How do you select the music for your works?
I pick music that I personally want to move to. It’s usually music that has a groove, emotional waves, and a natural drive to it.
What do you draw inspiration from?
I pull inspiration from everything. It could be from a movie, a piece of beautiful writing, or a current event. My upbringing is also a big one. I always want to insert a piece of the culture that I grew up in so the work always feels like a part of home.
What is your favorite part of choreographing?
I love the creative process with the dancers. It’s inspiring to have these different bodies and personalities influence the work. And it’s always more interesting to watch my movement on someone else to see how the impetus and pathways can change. I also love working with collaborators. Lighting and costume design drastically enhance and create a world that’s beyond what I could imagine on my own.
What do you look for when you select dancers for your works?
I like dancers who move differently and commit wholeheartedly. I also love dancers where I can see their personalities come through the movement.
What type of choreographers did you prefer to work with when you were a dancer? Do you think your choreographic style reflects this?
I loved working with choreographers that had a clear vision, but was also inspired by the dancers in the room. I loved work where I felt that a part of me was integrated into the world. All my favorite processes were the ones where a choreographer would make something that pulled from every individual in the studio. I think about that often when I choreograph and try to create a similar environment. It’s the most inspiring way to work.
Falling Forward is part of Pittsburgh Ballet Theatre’s Spring Mix: 5 for 55, running at the August Wilson African American Cultural Center from April 4th to 6th.
Spring Mix: 5 for 55 Casting Announceed
Pittsburgh Ballet Theatre has announced casting for its upcoming performances of Spring Mix: 5 for 55, a retrospective of its 55-year history. The program pays homage to PBT’s commitment to giving life to the classical tradition, nurturing new ideas and inspiring Pittsburgh’s communities throughout the decades. The mixed repertory program features three PBT favorite works from the past and two new world premieres. Spring Mix: 5 for 55 will take place at the August Wilson African American Cultural Center April 4-6, 2025.
The program includes George Balanchine’s sumptuous Emeralds, the return of Jorma Elo’s fast-paced 1st Flash, Dwight Rhoden’s passionate Ave Maria, and two newly choreographed world premieres: the primal The Rite of Spring by PBT choreographer-in-residence and former soloist William Moore and the joyful Falling Forward by acclaimed choreographer Caili Quan.
