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The Story of Swan Lake
Swan Lake is arguably the most famous ballet of all time. Have you heard of Swan Lake, but don’t know the story line? Here it is in a nutshell…
Prince Siegfried is celebrating his 21st birthday. His Queen Mother presents him with a new crossbow…and a wake up call. It’s nearly time to choose a bride from one of six eligible princesses. It seems like the perfect time to escape to a hunting party with his BFF, Benno, and the rest of his friends.
Boy meets…swan. It’s after dark and, as Siegfried approaches a moonlit lake, he sights a majestic swan in flight. He takes aim…but the bird becomes a beautiful maiden, who implores him to lower his weapon. For Siegfried and Odette, it’s love at first sight. But this budding romance comes with some baggage.
Cursed from the start. Unfortunately, Odette has met an evil sorcerer first. The vindictive Von Rothbart has cursed Odette, trapping her in the body of a swan. Although she reassumes her human form by night, it will take a pledge of true love to break the spell once and for all.
A wolf in sheep’s clothing. Siegfried has made up his mind to swear his love for Odette, but he hasn’t envisioned the sabotage to come. Back home in the castle, guests — including the princesses — gather for his birthday ball. The Queen Mother pressures Siegfried to choose a bride, but he refuses. Who should waltz in but Von Rothbart and his daughter Odile (!), the spitting image of his beloved Odette…
The Ultimate Deception. Odile dazzles him with her vibrance (and her 32 fouettés) and deceives him into declaring his love to the wrong woman. As Prince Siegfried swears his fidelity, he sees a fleeting vision of Odette, realizing with horror that he’s mistaken his love for her evil twin.
Will good or evil prevail? No spoilers here. You’ll just have to see to find out.
Swan Lake with the PBT Orchestra runs Feb. 16-25, at the Benedum Center. Find your seats here.
5 Reasons Swan Lake is Iconic
Over Valentine’s weekend, Pittsburgh Ballet Theatre revives the great love story Swan Lake with the PBT Orchestra, on stage Feb. 16-25, featuring new scenic designs. Swan Lake originally premiered in 1877 at the Bolshoi Theatre in Moscow and was revived by Petipa and Ivanov in 1895. From the ballet itself to books, films and fashion inspired by it, “Swan Lake” has captured the public imagination for over 100 years. Here are just a few reasons why.
1. The mystique of the Swan Queen. The ballerina’s dual role of Odette/Odile, or White Swan/Black Swan, is one of the most iconic in the repertoire, demanding technical mastery and emotional range to morph from vulnerable and pure Odette to audacious and deceptive Odile. Thematically, these polar-opposites symbolize a battle between good and evil. Choreographically, they also contrast. Odette is fluid and ethereal with the delicate carriage and rippling swan arms that are a signature of the ballet. Odile is virtuosic, demanding attention with a series of heart-pumping jumps and turns, including the famous 32 fouettes of Act 2.
2. The stirring Tchaikovsky score. Swan Lake was Tchaikovsky’s first ballet. By creating a score that was more like a symphonic work, he radically raised the bar for ballet music. But, at the time of its 1877 premiere, Tchaikovsky didn’t realize he’d written a masterpiece. Among the score’s stirring sections is the famous Swan Theme, which begins with quiet string tremolos and harp arpeggios announcing the lyrical oboe solo. The theme builds a sense of romance, wistfulness and mystery, hinting at the aura of tragedy that surrounds Odette. As the music crescendos, and the brass take up Odette’s theme with drama and intensity, it never fails to give us goosebumps.
3. Those chill-inducing swan arms. The undulating port de bras of the swans – a movement quality unique to Swan Lake – lends its own mystique to the classical vocabulary. Look for them in the second and fourth acts, during the ballet en blanc swan scenes. Lyrical and introspective, the corps de ballet’s movements and poses suggest the fluttering wings and curved necks of a flock of swans with rippling arms, arched torsos and trembling beats of pointed feet.
4. New scenic designs by acclaimed designer Peter Farmer. This February, PBT will debut new scenery by the late Peter Farmer, the same visionary behind PBT’s 2016 recreation of Giselle. In the words of Artistic Director Terrence S. Orr, who knew him well, “Peter was one of the world’s most sought-after classical ballet designers, working with companies like the Royal Ballet, American Ballet Theatre and the Mariinsky. He was a true artist, who hand painted every rendering. His designs capture incredible depth and light, much like a painting come to life, and will add an entirely new dimension to our production.”
5. A cast of nearly 100 lavish costumes. From Odette’s feathered headpieces to Odile’s ornate black-and-gold tutu, the 90+ costumes of Swan Lake are an essential part of the stage magic. In addition to the costumes, the production includes 470 accessories, including boots, headpieces and other items. There are the lush velvets and brocades of the courtesans robes and gowns…and then there are the swans. Their white classical tutus and feathered headpieces set them apart. Odile’s tutu in particular is made of silk dupionne with gold metallic appliqués, which give a feathery effect. The glitz and glamour of her costume immediately grab the audience’s attention.
See the magic for yourself at Pittsburgh Ballet Theatre’s Swan Lake, on stage Feb. 16-25, at the Benedum. Get your tickets here.
Source: Swan Lake Audience Production Guide
4 Valentine’s Day Gift Ideas
Valentine’s Day Gift Guide
Valentine’s Day is just a few weeks away, Pittsburgh! Here are four ideas to help you plan the perfect Pittsburgh date night and the ultimate gift from the heart. Give a gift that…
Inspires
Plan the perfect date with tickets to Pittsburgh Ballet Theatre’s Feb. 16-25, production of Swan Lake, ballet’s greatest love story. Dress up, dine out and get lost in this classic story of good versus evil.
Keeps Giving
Or, make that three dates to anticipate! Create a three-ballet package featuring Swan Lake, PBT: New Works and UPMC Presents West Side Story Suite + In the Night + Fancy Free for as little as $81. Plus, your love will eat up these VIP perks.
Moves
Treat the dancer lover in your life to classes at PBT Studios! Sign them up for our Swan Lake workshop, where adult students will learn iconic choreography from the ballet. Or, consider a class pass for PBT Barre Fitness, Pilates and other Community Division dance fitness options.
Gives Back
If your special person loves doing good, consider making an honorary gift to Pittsburgh Ballet Theatre to support extraordinary art in our city. Plus, when you donate in a loved one’s name, they can experience behind-the-scenes benefits.
#PBTNutcracker: How a Principal Ballerina Embraces Her Inner Child
Artistic Director Terrence Orr’s The Nutcracker is a coming-of-age story, following Marie and the nephew’s personal transformations and budding romance. Principal Alexandra Kochis, who dances the role of Marie in PBT’s The Nutcracker, finds inspiration in her own personal transformation as a dancer. According to Kochis, Orr’s The Nutcracker shows the value of embracing your inner child, innocence, purity and excitement for life.
Have you had a coming of age experience comparable to Marie’s?
“The first thing that comes to mind is when I first went away for a ballet summer program at the American Ballet Theatre when I was 13. It was my first time away from home for an extended time (five weeks) and it was a character-building experience for me. I guess you can juxtapose that to falling in love because it is scary and empowering.”
How does playing a young girl influence your dancing?
“There is a sense of bubbliness. A lot of light-on-your feet, fluttering-ness. The word exuberant keeps coming to mind.”
What is your favorite Nutcracker performance memory with PBT?
“This is my 12th season here, and in 10 of them I danced Marie with my husband (former PBT Principal Christopher Budzynski) as the Nephew. When he is transformed back into a man and I touch his now human face, it is such a stripped-down moment of emotion and, in my opinion, the most beautiful part of the ballet.”
How does that memory influence your perspective for this year? Does it challenge or inspire you?
“That kind of transportive-ness is something I both try to seek and relish in every part I dance. A lot of that has to do with the music and the energy between you and your partner. That is why I dance.”
The holidays are such a whimsical time of year. How does that influence you and your dancing?
“Anyone in the audience can identify with begin a little kid and the feeling of Christmas. Every time I am standing on the landing waiting for the performance, I try to get that tingling experience I am sure everyone remembers.”
Why is this role is special to you?
“Dancing the role of Marie in Mr. Orr’s production has always been my favorite of all the roles that I get to dance. For one, because you are the medium through which the audience experiences this wonderful journey. You are the link between their memories and nostalgia and the current experience they are having in the theater. But also, with each performance that I dance, it serves as a personal reminder to appreciate the most beautiful things about the holiday season – the wonder, the joy and the love.”
#PBTNutcracker: How 1 Ballerina Balances 14 Roles
With 24 performances throughout December and unique casting combinations for each, the cast list for The Nutcracker is something of a Rubik’s Cube. How does one ballerina juggle 14 roles across 24 performances of The Nutcracker? Corps de ballet dancer Jessica McCann lets us in on her secrets to success.
First, name all 14 roles for us.
Arabian, Chinese, Columbina doll, Mrs. Kaufmann, Flowers, Aunt Gertrude, Grandmother, Marie, Snow Queen, Snow corps de ballet, Shepherdess, Spanish lead, Spanish side, Mrs. Stahlbaum.
What’s it like to learn and dance 14 roles? How do you keep it straight?!
“It’s kind of crazy isn’t it?! Each year, we slowly learn and perform more roles and are given more opportunities. So the number of roles just continues to increase as your years in the company progress. It’s exciting adding new roles and perfecting older ones. Before every show I really focus down on what I’m doing in this show and try not to worry about anything else. Getting into character really helps me with that because it’s the same music, but depending on your role that night…your timing is different or you’re in charge of something different. It’s always important to try things in a costume before your show, especially when we all do so many different roles. It’s a lot!”
Do you have a favorite role or even a top three? What makes each one special?
“I might have to say, Marie, Snow Queen, and Arabian…Aunties from the party scene come very close though! (They are so funny…If you ever seen me perform it, you’ll probably notice how much fun I’m having!) Marie is, of course, my top pick. I really enjoy playing a character that drives the story. She is so full of life and wonder; you get to play with a lot of different acting while being Marie, including young love. Snow Queen and Arabian are my second and third picks. Being queen of the land of snow is probably my inner child’s dream coming true! The music is powerful and exciting. She is powerful but kind and understanding, and her entrance is one of my favorite things. A huge book opens up and the Snow King and Queen emerge through it. Arabian is the newest role for me…It’s challenging and rewarding, and I love the mysterious quality to the movement.”
How do you keep your energy up throughout the run?
“The whole company is constantly picking each other up – helping and encouraging each other, watching each other in the wings, constantly joking around and reminding each other to just have fun! It’s a long month, but we get through together.
I take a lot of vitamins…amino acids and omega-3 & 6. Lots of water…protein….smoothies, antioxidants and eggs and homemade protein bars with lots of different nuts and seeds as well as yogurt and homemade granola. I also tend to try and lay down and shut my eyes in between performances if time allows. I need to rest my mind and prepare and recharge for the next show filled with different roles then the shows previous. How we treat our bodies and minds when we are so busy pretty much makes or breaks you. You need to stay strong and healthy to make it through! We always have a dinner waiting for us in the crockpot on those nights when we come home at 11 p.m. as well. No matter how tired you are you need a good dinner too.”
What’s your favorite costume of the 14 you wear?
“This is hard… last season I had my Snow Queen premiere and I might have to say that one is my favorite. The Snow Scene has been my favorite scene in The Nutcracker since I started dance at 4 years old. The tutu and tiara are just gorgeous and I feel like a true ballerina when I’m in it.”
Do you prep a different pair of pointe shoes for each role?
“Definitely yes! (Dancing in the) Snow Scene corps de ballet always gets my deadest of dead shoes. It’s a lot of jumping and running, so soft is okay. I wear a brand-new pair when I do Marie, and it’s perfect. You need them harder in the beginning and it’s nice as they soften during the show, because in Act 2 there is much more jumping. If those shoes are still good I might wear them later for a Chinese show or Spanish lead show. Chinese, Shepherdess and Snow Queen need really nice turning shoes so they can’t be too dead, but not brand new. Comfortable. I might even transition my Marie shoes to my Snow Queen shoes. It totally depends on the role, the choreography, and what each individual dancer likes. I’m definitely walking around with a ton of different pointe shoes though, always trying to find the perfect pair for the roles I’m doing that day.”
What does The Nutcracker season mean to you?
“It’s all about family and tradition isn’t it? It’s something that touches young kids and they never forget it. My mother never forgot when she first saw it, and I’ll never forget when I first saw it. It’s a famous story everyone knows one way or another, and it’s a beautiful tradition that families make. I love being a part of so many families’ traditions each year.”
See all of these characters come to life in Pittsburgh Ballet Theatre’s The Nutcracker, on stage through Dec. 27, at the Benedum Center. Get your seats here.
2017 Holiday Gift Guide
This holiday season, give less stuff and more experiences. With a calm click of your mouse, you can wrap up unforgettable gifts and skip the retail rush. Prepare to make memories!
The Experience Gift
Give your loved one quality time on the town. Choose from iconic stories like The Nutcracker, Swan Lake and West Side Story Suite. Dress up, dine out and get lost in some of ballet’s most exciting choreography. You can purchase single tickets here or opt for a three-or-four-ballet subscriber series, which comes with VIP benefits. Or, purchase a gift certificate for your giftee to apply toward the tickets of their choice.
Pssst: Save $10 on tickets to select performances of The Nutcracker now through Dec. 14.
The One-of-a-Kind Keepsake
Shop local for the dance — or Pittsburgh — lover in your life. Peruse the PBT Boutique online or at the Benedum Center (during any The Nutcracker show time) for a variety of Pittsburgh- and ballet-inspired gifts. Choose from PBT apparel, hand-crafted Pittsburgh decor and jewelry, collectible nutcrackers, vintage ballet posters and even autographed pointe shoes from PBT ballerinas!
The Resolution Maker
Help the fitness lover in your life ditch the January gym crowds and mix up their workout routine. Adults and teens ages 14+ can work their muscles and refresh their minds with classes like barre fitness, ballet, dance cardio, Pilates and TRX training. Ballet classes feature live piano accompaniment, and all classes are held at PBT’s newly renovated PBT’s Strip District Studios, an American Institute of Architects Pittsburgh People’s Choice award winner. Pick a class package or purchase a gift certificate.
Pssst: You can wrap up a two-week class card for $25. View our class schedule here. Schedule a class to claim this offer at checkout.
The “No More Toys Please” Present
Give the budding ballet dancers on your list the gift that just keeps giving. Ballet classes give kids a creative outlet and teach discipline, poise and confidence along with enviable dance skills. Plus, they’re FUN. And what kid doesn’t love dancing? Sponsor Children’s Division or Student Division classes at PBT School for the youngsters on your list. They’ll love seeing the professional dancers around the studios!
Pssst: For a limited time, save 25% on pro-rated Children’s Division tuition. Email PBT School to register. Offer ends 11/27/17 at 11:59 p.m.
The Do-Gooder Gift
Shopping for someone who has it all and likes sharing it with others? Honor them with a philanthropic gift in their name. Instead of gathering dust, this gift goes right to work, providing ballet tickets for families who couldn’t otherwise afford it or need-based scholarships for aspiring young dancers. Plus, when you donate in a loved one’s name, they can experience behind-the-scenes benefits.
Alexandra Kochis: My 5 Favorite Things
The Nutcracker is one of the grandest ballets in Pittsburgh Ballet Theatre’s repertoire: Five lavish scene changes, 170 characters and costumes per performance, a total cast of 30 professional and nearly 150 student dancers. Falling snow, magic tricks, characters that come alive and dance after virtuoso dance. As she prepares for her 12th holiday season with PBT, principal dancer Alexandra Kochis crystallizes her five favorite moments from this supremely detailed production.
1. “The last few notes of the first act overture. It is a piece of music that perfectly captures the joy and the excitement and anticipation of Christmas Eve Day and the last few notes are both a perfectly satisfied ending as well as an open ended invitation to all the good things that are to come.”
>>> Listen to some of the Act I overture in this video:
2. “The lift Marie does with Drosselmeyer in the beginning of the battle scene. It is at a moment in the ballet when everything in Marie’s world is in flux – flying apart and growing out of proportion. She sees her Uncle Drosselmeyer and it is as if he is the one familiar rock to which she can cling. They rush together and he lifts her, spiraling, high above the chaos and the mayhem and the danger. It is a beautiful metaphor as well as a striking visual. Plus it’s tons of fun to do.”
3. “After the battle scene, the stage and the story begin their shift into the Snow Scene. This is my favorite music of the ballet. Tchaikovsky’s score is lush and romantic and soaring. Terry’s libretto here perfectly mirrors the wonder and the magic of the music. The Nutcracker is transformed back to his human form of the Nephew and he announces himself to Marie. I absolutely love this moment as Marie. He is kneeling before you and you gently touch his newly exposed, no longer disfigured face. I get to gaze into my partner’s eyes with this gorgeous music building all around us. It’s a magical moment that I get to relive over and over. So romantic!”
4. “Dancing the finale of the Waltz of the Flowers as Marie. You have a diagonal of soaring grand jetes that culminates with a reuniting with the Nephew and a final, joyous dance together. It is a celebration of happiness and movement and music and each time I do it, I am reminded why it is that I do what I do.”
5. “Seeing the little bees’ faces as they wait on the sides for their entrances during the second act. They are so tiny and so focused and so proud of the part they get to play amidst all these grownup, real-live ballerinas.”
Find your own favorite moments at Pittsburgh Ballet Theatre’s The Nutcracker, onstage Dec. 1-27, at the Benedum Center. Tickets start at just $28. Find your seats here.
6 Reasons Dracula Will Give You Goosebumps
Dracula kicks off Pittsburgh Ballet Theatre’s 2017-2018 Season with a dark, beautiful ballet perfect for Halloween weekend. Here are our top six reasons it will give you goosebumps.
1. The ballet is inspired by Bram Stoker’s 1897 gothic novel – the granddaddy of all vampire dramas.
The ballet tells a dark, yet juicy love story. Dissatisfied with his undead brides, Dracula fixates on Svetlana, a young woman who’s head over heels for a mortal man, to satiate his thirst for fresh blood. His obsession traps Svetlana and her new fiancé Frederick, in a dangerous love triangle.
Tales of vampire-like creatures date back to ancient Rome, Greece and Egypt, but today’s depiction emerged during the 1700s in Eastern Europe: evil spirits that lurked in graveyards, entering dead bodies and awakening them to an “undead” state. Along with attempts to explain the unexplainable, vampirism seems to find root in humans’ fear of dying and quest for immortality. Although vampire lore has existed for centuries, the image Stoker created has become the standard in pop culture and artistic interpretations around the world.
2. Like bats, these vampires fly through the night.
The choreography includes a spooky levitation scene for Svetlana and eerie flying sequences for Dracula and a few of his leading ladies. For the aerial scenes, choreographer Ben Stevenson recruited Foy Inventerprises (also know as Flying by Foy), the same experts who’ve given wings to film, Broadway and music stars, including Lady Gaga, Beyoncé and Taylor Swift.
3. The New York Times says, “the sets, costumes and lighting are not just lavish but exquisitely beautiful and atmospheric.”
The ballet opens in the Count’s candlelit crypt, a “dark, nocturnal world in which vampires thrive,” explains set designer Thomas Boyd.
To depict 19th-century Transylvania (the central part of present-day Romania), both Boyd and costume designer Judanna Lynn studied the fictional world of Stoker’s novel and the traditional dress and architecture of the actual region. The ballet features three distinct scenes – the crypt, the village and Dracula’s bedroom – and over 70 costumes. Most elaborate is the Count’s.
When Dracula fully unfurls his 30-pound cape, its bat-like edges reach an imposing wingspan of 23 feet. His brides wear tattered wedding gowns, streaked with the dirt of the grave and adorned according to the era they became vampires.
For the scenery, Boyd said, “The works of 19th century German painter Caspar David Friedrich are very evocative of the feeling and style that I was seeking. In his work, there is a sense of immortality, of timelessness, of an energy that transcends time. And it is this feeling that I am seeking to evoke in setting the scene for the ballet.”
4. The dancing has teeth (and so do the dancers).
Some say the ghostly corps de ballet scenes, with 18 swirling vampire brides, reminds them of a spin on Giselle’s veil-wearing Wilis, zombie-like maidens jilted before their wedding days. Although the choreography is worlds away, choreographer Ben Stevenson employs similar “ballet en blanc” conventions for the corps of vampire brides: all-white wardrobe and unified movements.
Meanwhile, in the village, normal life goes on, with bright folk dances and joyful variations for the newly engaged Svetlana and Franz…at least until Dracula crashes the party and abducts the belle of the ball. As Boyd puts it, “This is not your typical ‘happy peasants in the village scene.’ There’s a classic dichotomy here: These peasants live near Dracula’s castle, under the shadow of evil.”
5. Pyrotechnics raise the stakes.
Garlic, crosses, stakes – the villagers try it all in their quest to rescue Svetlana from the Count’s clutches.
But a vampire’s ultimate kryptonite is sun exposure, so PBT pulls out the pyrotechnics for the Count’s final blaze of glory and Svetlana’s only saving grace. Keep your eye on the chandelier.
6. Franz Liszt’s Dance of the Dead inspired Ben Stevenson to set the choreography to this composer.
Liszt took the melody for this music from a 13th-century Gregorian chant called the Dies Irae, a piece of music that has been adapted for many works, including film scores for The Shining and even The Lion King. Hear some of this theme in the Dracula trailer. Another musical highlight is an Act I dance with two brides and Dracula to The Lugubrious Gondola (1882), an atonal work Liszt originally wrote for a funeral procession. Stevenson and John Lanchbery, the renowned music arranger and ballet conductor, chose the music of this famous 19th-century Hungarian composer and pianist, because they thought it was capable of creating the “atmosphere of terror” that descends on this 19th-century Hungarian village.
Experience all the chills for yourself! Dracula returns Oct. 27-29, at the Benedum Center with tickets starting at $28. Get yours now.
Joe Parr’s path from running back to ballet dancer
In high school, Joseph Parr’s touchdown dance of choice was a tour jeté — An elaborate end zone leap uniting his two athletic passions. Football and classical ballet.
Ballet is art, but it’s also intensely athletic – requiring a level of speed, strength and precision on par with any sport.
Growing up in Ohio, Parr played football from fifth grade through high school graduation as a member of the Wooster High School Generals. He started on the offensive and defensive lines early on but, with a boost from ballet, had picked up speed and agility by high school.
“As I got faster and more trim, I eventually moved to linebacker and running back,” Parr said.
And he also became more and more serious about ballet, a discipline that has helped pro athletes, like Lynn Swann, better their on-field balance, control and agility.
For Parr, it became his life’s work. He’s been dancing professionally in the PBT Corps de Ballet for nearly 10 years.
Here, he shares how both his career choice and his first love ultimately improved his performance (and his touchdown dance).
What motivated you to get involved?
“I’ve always loved watching it on TV and played pickup games whenever I could growing up.”
When did you begin dancing and what motivated you to give it a try?
“My mom put me in ballet class when I was little, and I did it for a few years, but I didn’t really love it. After that, I told her I just wanted to play sports. I started ballet again when I was 15 and basically had to start over from scratch. I pretty much forgot EVERYTHING.
A friend of mine was a dancer and heard through the grapevine that I had danced when I was younger. She told me they had no guys at their studio and she convinced me to try a class, adding that I would be in a room full of girls.”
What hooked you about ballet?
“When I started back again, I liked the challenge and felt like, if I kept at it, it would help me improve with football. The old “Lynn Swann played football” that I heard before was reason enough. But then I came to PBT for the summer and I saw guys like Daisuke Takeuchi and Alan Obuzor do amazing things in the studio and I said, “That’s what I want I do.”
What about with football?
“I just loved everything about it…the sounds from shoulder pads hitting each other, working together with teammates, motivating and pushing each other to be better. All the grass stains, bumps, bruises, game days, and the physical challenges are memories I will carry with me forever.”
What kind of crossover did you notice between ballet and football?
“Pretty much every exercise we do in ballet helped me for football. All the balancing at barre kept me upright on the field. Quick movements at the barre and during petite allegro made me much lighter on my feet, allowing me to be more elusive. Having to do big jumps (and landing them safely) gave me a better understanding and awareness of body control.
Proper technique is also key in both. Just as you can hurt yourself if you’re not tackling properly; one can injure themselves if they’re not landing big jumps correctly or even by doing plies the wrong way. The communication between a quarterback and receiver can be similar to a guy and girl partnering in ballet. If a quarterback expects a receiver to run a post route and the receiver runs a curl route, there could be an interception. If two dancers aren’t on the same page while doing partnered turns or lifts, the movements won’t work.”
Do you think there are cross training benefits for student athletes? Do you think football in any way influenced the way you cross train for dance?
“I think cross training is extremely important. You can find different ways to push your body and strengthen different muscles that you may not be working during your regular sport or activity. We lifted weights regularly during the season and off season so football gave me a good foundation and understanding of how to cross train.”
Can you speak to the strength, endurance and overall athleticism necessary to your art form?
“I can definitely recall one time a repetiteur asking me how I was feeling and I casually responded that I was OK but a little sore. After that they jokingly said, ‘Sore?! Of course you’re sore! You’re a ballet dancer, you’re supposed to be sore every day of your life!’ That about sums it up. Every day, we are pushing and testing the limits of our bodies to become better technicians and artists. We have to possess the strength to do big jumps and the endurance to execute them when we’re tired. All the while doing that with a smile on our face that says, ‘This is a breeze. ‘ I’m so amazed at how strong the ladies are in the corps when they have a long dance, go hold a position on the side of the stage for several minutes, and then break away from the position and go dance some more. It looks so effortless but there is no way that’s easy!”
How do you cross train now?
“I like to lift weights, do exercises on a therapy ball, different types of push ups and pull ups, planks and hop on an elliptical every now and then. I try to have my most intense workouts during the off-season so I have more time to recover while preparing my body for the rigors of the season ahead.”
What advice would you give other aspiring male dancers, especially in their early training years?
“The best advice I can give is what I call the three S’s. Show up, suck it up, and shut up. You only get better at ballet by doing more ballet. Ballet can be incredibly rewarding one second and then one second later you feel terrible about yourself. It happens to everyone so you have to suck it up. For the last S, you have to be respectful and listen to your teachers. They know what they’re saying and only want to see you be the best you can be.”
With the NFL recently relaxing the rules on touchdown dances, we need to know what yours would be.
“I didn’t score a touchdown until after I started dancing and I totally did a tour jeté. I’m pretty sure nobody had any idea what that was, but it felt good for me! Now that I’m a little more experienced, I might have to hit ’em with a double saut de basque. I’m also a big fan of the classic: spin the ball and then pretend it’s a roaring fire to warm up my hands… Not sure if that’s the exact title.”
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5 Dancer Engagement Stories (Plus, two wedding photos)
Partners on Stage, Partners for Life
Love is in the air at Pittsburgh Ballet Theatre Studios! When our company dancers returned from summer break this fall, nine were engaged and two more were newly married. Find out which eight PBT dancers are also fiances. Here, five ballerinas share how, when and why they said “yes.”
Gabrielle Thurlow (soloist) & William Moore (corps de ballet)
Dating… two years
First spark…We were friends first, but realized later that maybe it could be something more. We started dating and discovered we were absolutely right!
Engagement location… Tuscany, Italy
On the proposal… It was just the two of us. We were having a glass of wine, watching the sunset on a beautiful view in Italy. Everything was set up perfectly, but Will was so nervous! As he started talking, I knew things were a bit more serious than usual. When he dropped to one knee and revealed a gorgeous ring, I was overwhelmed with emotion! I feel so lucky to be marrying such an amazing man!!!
On sharing lives and career paths… It’s nice to have someone that understands the ballet world so well. We both know what goes into our careers and how much it means to us. We understand the struggles, the hard work, and the moments on stage when it all feels worth it. Not only do we share similar interests in ballet, but also in life. We have learned a lot about house renovation together and both love spending time with our miniature schnauzer.
Diana Yohe (soloist) & Joseph Parr (corps de ballet)
Years dating…Almost four years now
First spark… I was stretching before a Saturday ballet class, and he was exercising in the workout room. Joe introduced himself and we realized we are both from Ohio!
On the proposal… Joe and I went to mass at St. Mary of the Mount together and after church he took me out onto the Mt. Washington overlook and got down on one knee. He had our friend (and fellow PBT dancer) Dani Moya hide to take photos of the moment. The overlook has a special meaning to us both. It was definitely the happiest day of our lives!!
On sharing lives and career paths…It’s wonderful to have someone who understands what it takes to have a career in ballet and that you get to share so many special moments on stage together. When Joe and I danced the Nutcracker and Marie together, I had a bus load of family and friends come to see us dance together on stage. It was a blessing, not just to have so many people watch us, but also to get to act out a love story with the person I get to spend the rest of my life with!
Emily Simpson (corps de ballet) & Jake Unger (corps de ballet)
First spark… I think the wonderful thing about our relationship is that it started out so perfectly by being friends and working together everyday. He made me laugh and smile and the more we spent time together we both realized just how special each other was.
Location of engagement… Jake proposed to me at Balboa Island in Los Angeles, California. It’s a little island by the beach with docks, boats and beach houses along the pathway that goes around the entire island.
On the proposal… It worked out so beautifully because as he proposed, the sun set and the water was slowly moving the dock while the boats floated by. Very magical and romantic. His mum and brother filmed the whole engagement and took photos while hiding behind different things so we didn’t notice them. I was surprised for sure. We had talked about marriage for a while, so we knew we were going to get married. As for the day and the time, that’s something he wanted to keep a surprise. I felt so happy and, I suppose, in shock to a certain extent as the anticipation finally became reality. Jake was extremely excited and happy.
On sharing lives and career paths… I feel extremely honoured to be sharing my work life and normal life with Jake. The amount of stuff we can share and relate to is so wonderful. I can help him, he can help me, so it’s a wonderful balance of understanding each other so well. Getting to go to work with each other everyday and not have to say goodbye but know that we can be there to support each other during the week and then be able to really enjoy the days and times we have off is wonderful. I’m so excited for the future as we grow together, in our lives and in our work.
Jessica McCann (corps de ballet) & Yoshiaki Nakano (principal)
Years dating… 3.5 years. We are having a long engagement and getting married May of 2019.
Location of engagement… It was at Kyoto Japan, inside the gorgeous, ancient Tofuku-ji Temple in the Japanese Gardens. It was perfect.
On the proposal…The moment really presented itself. Yoshi wasn’t sure if he wanted to propose here or not, there were other ideas he had in mind. It’s one of our absolute favorite Japanese gardens, inside an unbelievably stunning, ancient temple, so it’s a very sacred place. The first time we visited it was last summer.
There is an area with a small deck that overlooks a river, with so many treetops you can’t see the bottom. Suddenly no one was around and it was silent: There was this truly magical feeling in the area. I looked to Yosh and said, “I would love to have a wedding in a place like this…it’s so breathtaking.” We both felt that moment, and during it he decided it was the moment to propose. I was looking out above all the treetops, and he told me to stay there. I looked back at him and saw he was setting up his camera on the floor. Usually when we travel, he sets his camera somewhere, sets the timer and runs into the picture with me. I assumed he was doing the same thing. I turned around and waited for him to come into the picture. He was taking longer than usual, and I turned around, about to ask if he was OK…and he was standing there with the ring in his hand, went down on one knee and asked me to marry him! It couldn’t have been more perfect. It felt like there was a soft spiritual energy holding us together frozen in that moment. Not one person interrupted as it happened and as we hugged and all the emotions were happening. It felt like that moment of peace was created for the two of us. We were there with two friends, Amanda Cochrane (PBT principal) and her husband, and when they finally came over and we told them what had just happened, we were all hugging and celebrating and they were so shocked! It was so fun. They took photos for us, and then they took us out and bought us a bottle of champagne and we had a lovely evening!
On sharing lives and career paths…It’s really a gift to be able to spend the day with each other at work and at home. There are so many things we can relate with, sympathize with and help each other with. Some days we have separate rehearsal times or our schedules won’t be exactly the same. So it’s nice to come home together and talk about how his rehearsal went or how mine went. We are each other’s support system, really. In a profession as hard as this one, you really need that other person to lean on or ask for help or advice. People who aren’t in your same profession can try to comfort and support, but won’t ever really understand how tired your body is or what a big opportunity means. We give each other corrections in class, help each other, and support each other so much. It’s amazing to watch each other grow in a career we’re both so passionate about. It also just creates really healthy relationship habits of respecting and trusting one another. We both love it and wouldn’t change a thing.
Amanda Potts (corps de ballet) & Billy Morgan (former NCSA dance student)
Dating…three years
First spark…It was my first week at college (University of North Carolina School of the Arts) and I was sitting at a table with some new freshmen I had met at a meet-and-greet event, and Billy happened to stop by the school after his shift at Starbucks to check the schedules on the dance board. An opera major sitting next to me convinced him to join us so that she could sing him a song about a boy from a coffee shop (she had done this for a few other students throughout the night). Billy obliged and happened to sit down across the table from me and that was the first time we saw each other. We didn’t actually talk very much that night since he was mostly being serenaded by the opera major, but we both knew there was something special about each other. Later he found me on Facebook and asked if I wanted to come visit him at Starbucks sometime, and the rest is history.
Place of proposal… My apartment living room
On the proposal…Billy proposed on Feb. 12, the evening after our first weekend of Alice in Wonderland performances. I got home from the theater, and we decided to go out to eat to celebrate a successful first weekend of shows. I chose Panera since we hadn’t eaten there in a while and I love their soups and salads. After dinner, we stopped by Starbucks and Billy treated me to my usual coffee drink. It was very reminiscent of the dates we went on at the start of our relationship. Back in North Carolina, we would often get Panera together after church and then grab coffee at the Starbucks he worked at which was just around the corner. Once we got back home, Billy turned on Pandora and asked me to dance with him in the living room, which isn’t anything out of the ordinary for us so I was completely unaware that he was getting ready to propose. While we were dancing, he poured out his heart to me with the sweetest words I’ve ever heard and the next thing I knew he was down on one knee asking me to be his forevermore. It all happened so fast that I can’t say exactly what emotions I felt except that I can sum it up as pure joy and excitement. Billy felt a mix of nerves, anxiety, excitement, and (once I said yes) relief and happiness. It such a huge step in our lives that we both felt butterflies in our stomachs for days afterwards.
On sharing lives and career paths… Although he doesn’t dance anymore, Billy studied classical ballet for 15+ years. He knows how demanding it is and how stressful it can be sometimes. It’s such a blessing that I get to spend my life with someone who understands what I do on a daily basis, but can also help me keep my physical and mental health in check. He constantly encourages me to work harder and push myself to improve, but he’s also careful that I’m not making myself stressed by over thinking or overworking my body. He constantly makes sure that I’m getting the most out of my recovery time by always reminding me to roll out or put my feet up so that they’ll be well rested for rehearsals the next day. He’s my biggest fan and I don’t know what I would do without him by my side.
Congrats to the PBT newlyweds!
Danielle Downey (corps de ballet) and Blake Ragghianti
Alexander (corps de ballet) and Dina Castillo
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Gallery: 14 Beautiful Summer Ballet Photos
From May through July, PBT dancers take a well-deserved break from their full-time rehearsal schedule. For many dancers, summer layoff is a time to travel, to soak in the sun, to guest perform and teach, to rest and recuperate. But whatever their summer plans, we’re grateful that these PBT dancers found time to snap stunning dance shots in the open air. Enjoy the gallery and a glimpse into their summer breaks.
Artist Spotlight: Meet Our Newest Soloist
When Diana Yohe next steps on stage, it will be as a Pittsburgh Ballet Theatre soloist. Yohe, an alumna of the PBT School Graduate program, joined the company in 2013 as a member of the Corps de Ballet. Over her four seasons with PBT, she has danced an increasing number of featured roles, including Myrtha in PBT’s October production of Giselle and Alice in its February production of Alice in Wonderland. She’s also racked up an impressive number of contemporary credits ranging from Jiří Kylián’s Petite Mort and Sinfonietta to William Forsythe’s In the Middle, Somewhat Elevated, Twyla Tharp’s In the Upper Room and James Kudelka’s The Man in Black. Diana trained under Courtney Laves and Mark Otloski at the City Ballet of Cleveland before pursuing pre-professional training in Joffrey Ballet’s Trainee Program and in PBT School’s Graduate Program, which she joined in 2012. Get to know Diana here.
Fun Facts
Family: I have the most incredible support system. They come to every show, sometimes multiple times. They are the most wonderful people.
Pre-performance Ritual: I don’t have a specific routine, but I always say a quick prayer before getting on stage!
Most-played Music Right Now: The most recent CD I bought was Frank Sinatra. I love the old classics.
Hobbies: I am most definitely a book worm. I also love cooking and baking, along with traveling with my fiancé, Joe. He jokes that wedding planning is my new hobby!
Dream Role: My dream classical role would be Giselle. Otherwise I’d have to say that performing the pas de deux from After the Rain will always be a dream of mine!
Favorite Role to Date: Myrtha from Giselle. I thoroughly enjoyed exploring her character and she was a difficult role to perform since I am generally smiling.
Go-to Relaxation Activity: Reading would be my number 1. Retail therapy is always a way to help a girl relax too!
Misc. Fun Fact: I’m a leftie.
Q&A
How does it feel to be a soloist? How did you react and/or celebrate when you got the news?
“I don’t know yet! I know I’ll keep dancing just as hard and enjoying every day I get to do what I love. The day I found out I was promoted, I had arrived at work a little early. Once I knew, the first two people I ran in to were my best friend and my fiancé. I’ll never forget the big hugs I got from both of them!! I later celebrated with friends, getting my favorite pizza in Pittsburgh, at Pizza Taglio.”
How do you think you’ve grown as an artist since you first joined the company?
“I feel that a lot of growing as an artist comes with growing as a person. Every part I’ve performed I feel has taught me something new and helped me learn a little bit more about myself.”
Could you describe the rush of performing, your connection with the audience and what it’s like being in the moment, performing, after so much preparation?
“Nothing compares to being on stage. My main goal once I get to the stage is to enjoy the moment and to share the joy I feel with the audience. When I’m out there I just try to relax in what I’m dancing and trust the preparation that got me there.”
Describe your most memorable role with PBT to date.
“In the Upper Room by Twyla Tharp was the first ballet I performed as a dancer with Pittsburgh Ballet Theatre. I can still remember how I felt during that show. It was incredibly special to me as it was my first time performing as a professional and it is a very difficult ballet to dance. Every time I hear the music by Phillip Glass it takes me back to that time in my life.”
What qualities do you strive to bring to your dancing?
“Understanding a character has become more and more important to me. Dancing becomes even more enjoyable when you have a story behind the movement.”
Why ballet? What does it mean it you?
“I love that ballet is a balance of artistry and athleticism. It is truly a challenge that never dwindles! From the very first time I performed in The Nutcracker, I knew it was my dream to be a professional ballet dancer. I had no idea what I was getting myself into! I wouldn’t change a single choice I made though. I have loved every moment of the ride ballet has taken me on.”
What are you most excited about for next season?
“We have awesome programs scheduled for next season, but if I had to choose I’d say I’m looking forward to Dracula. I have never performed it, but the dancers that have are all very excited to perform it again!”
10 Summer Intensive Takeaways
The launch of PBT School’s annual Intensive Summer Program quickly brings PBT to life during the company’s quiet summer break. Students ages 12-22 flow out into the hallways and lounges during their breaks; stretching, talking, and relaxing in their downtime. They practice six days a week, spending over 180 hours in the studio. But, in talking to 10 of these 225 students you wouldn’t realize the intensity of their schedule unless you asked. Their passion out shined any fatigue they may have felt as they described some of their biggest challenges and lessons from the past five weeks.
Allison Durand
Age: 18
Hometown: Charleston, SC
Level: 7
“Just the incredible amount of progress you can see in yourself and in other people in only five weeks is really neat. I would say probably one of the biggest challenges is being self critical and learning to work in a positive way… not being afraid of failing and focusing on the possibilities of what you can do, and really allowing yourself to learn what you can from teachers, because you can’t really learn anything if you’re afraid of failing.”
Emma Jennings
Age: 16
Hometown: Takoma Park, MD
Level: 5
“The teachers care for the students’ futures, not just right in the present working on their technique. When I get corrections from certain teachers or see others corrections given, it’s more ‘when you’re twenty you’re going to have to be able to do this in a company.’ It’s more future-oriented.”
Daniel Cooke
Age: 24
Hometown: Silver Spring, MD
Level: Men 2B
“Coming to ISP made me realize that I’m capable of a lot more than I thought. I used to think, ‘Oh that role isn’t for me’ or, ‘That variation isn’t something that I feel comfortable doing.’ But, with working with, say Christopher (Budzynski) or Li Chou (Cheng), you get crossover with the company, and I figured out that I actually can achieve those variations, those roles, and bring them energy.”
Amanda Lewis
Age: 15
Hometown: Akron, OH
Level: 4
“(The teachers) are all amazingly qualified and they care; you can really see. They give us corrections and they want us to improve. All of the teachers are very particular about their details, especially in the port de bras which is really nice, because I like Balanchine a lot so sometimes I lose the classical flowiness of my arms. They really pay attention to that, it’s something I can work on to have my positions where they need to be.”
Maicon Oliveira
Age:19
Hometown: Curitiba, Brazil
Level: 2B
“The most surprising thing for me is how the American dancers helped me every day and how they talked to me. They were really friendly.”
Camila Howard
Age: 14
Hometown: Virginia Beach, VA
Level: 2
“The most changing thing for me was coming into class every day and being around a group of kids where everyone is very serious and dedicated…I would say the biggest challenge is adapting to each teacher and remembering specific things they liked compared to other teachers.”
Ian Rafferty
Age: 23
Hometown: Austin, TX
Level: Men 2B
“Taking care of myself is probably a big one – my body and how I’m feeding myself especially. It’s been interesting figuring out how to get through an 8:30 a.m. to 6 p.m. day.”
Maggie Fosselius
Age: 14
Hometown: Denver, CO
Level: 3
“Just the experience. I think all the excursions are so fun. And the classes. I’ve never taken jazz or contemporary before; I just do strictly ballet, but they’re so fun and I think I want to do more of it now. Introduction to that has been pretty awesome.”
Andrew Fleischner
Age: 13
Hometown: Pittsburgh, PA
Level: Men 1
“Holding your position. I make sure when the teacher gives me a correction that I try to do that as much as I can and remember to hold my arm in a special way…I had my first official pas de deux class here and it was fun, though kind of hard.”
Santiago Pacheco
Age: 22
Hometown: Puebla, Mexico
Level: Men 2
“I’ve been here since the (school) year for the grad program. But for the summer I think I’m getting in better shape, having all-day technique classes – every day.”
5 Things Dancers Do to Stay Strong
Our dancers are back to the studio – and to peak performance shape – after summer break. Here, five company members share the healthy habits that keep them en pointe through eight-hour dance days.
Julia Erickson, principal dancer
“Dancers have to stretch as a practice, obviously, but it’s also important to work out the kinks that remain even once you feel “stretched out.” I would call it opening up areas of connective tissue tension. For example, I use these things called Yamuna balls, which are little half domes that you stand on. You put them on various points on your foot and stand on them for a total of, maybe, five minutes. It basically helps release things throughout your entire body. It becomes a part of your practice. It’s really easy and it becomes very empowering. I think a lot of chronic health issues show up as a result of neglect. The more you can open stuff up and release little things that are habitually bound down – you’re caring for yourself. Just like anything else – with diet, with saving money – it’s incremental change. It becomes addictive because you realize how good it is for you and how much better you feel once you do it.”
Alexandra Kochis, principal dancer
“I think that one of my most important healthy daily regimes is the simple act of getting out, getting moving and getting sweating at least once everyday. Taking morning ballet class is the starting point of most of my days and the hour and a half of introspective time reserved solely for me to focus on my own body and my connectedness to it is a luxury for which I am incredibly grateful. On the days when I don’t get out and do something that gets my blood pumping, I feel just a little less present. And, though sometimes it takes a bit of cajoling to get up the motivation to take that hike or get to the pool, I always feel glad that I did and my body and outlook on life are the better for it.”
Luca Sbrizzi, principal dancer
“I’m one of those dancers that is constantly thinking about how to recover quicker, feel less sore, release tight muscles – in the studio but especially at home. I have dozens of recovery tools from balls, rollers, massagers, etc. But there is one that I always come back to. It’s called a yantra mat. It’s an acupressure mat. It was a Christmas gift from a former PBT dancer. It became a staple during my long and stressful back injury and recovery. And I still use it consistently. Not only does it help me with back pain, but it reduces stress, improves circulation and lowers blood pressure. It’s truly a wonder. I noticed that if I lay on it for just 10 minutes it will actually give me a boost of energy, but if I lay on it for 30-40 minutes it will relax me like nothing else will. It’s slightly painful to use at first, but once you pass that stage you will notice amazing results.”
Joanna Schmidt, corps de ballet dancer
“Maintaining good posture is easy to forget about but, as a dancer, it’s a necessity. I remember as a student, my ballet teachers would walk by me and pull my shoulders back even when I wasn’t in class. I try to think about the way I carry myself even when I’m not dancing. Having good posture takes pressure off of your bones and ligaments, engages and tones your abdominals, and it’s even been proven to put you in a better mood! Of course I slouch sometimes, but then I think of how great Audrey Hepburn always looked and I’m motivated again.”
Cooper Verona, corps de ballet dancer
“There are so many workout and diet theories out there; it’s confusing! And we all just want to be told the absolute perfect thing we can do. That’s not gonna happen. So, I think the one thing people can learn from dancers is to listen to their own bodies more. Knowledge of how your body works helps a ton, but common sense usually prevails. Also, drink lots of water. Seriously, it’s the cure to everything. And no one drinks enough.”
Interested in more tips for training like a dancer? Sign up for a PBT School Community Division ballet, conditioning or dance fitness class today!
Children Invited to Audition for 2017-2018 Dance Scholarships
Pittsburgh Ballet Theatre invites children from ages 5-8 to audition on Saturday, Aug. 5, for the opportunity to receive a full or partial scholarship to study ballet during the 2017-2018 school year. Registration begins at 1 p.m. with auditions following from 1:30 to 2:30 p.m. at PBT Studios in the Strip District, 2900 Liberty Ave.
As part of its Community Youth Scholarship program, PBT will be awarding up to five full and three partial scholarships for children to train in its Children’s Division. Although the program focuses on early exposure, PBT commits to funding scholarship recipients’ training all the way
through the school’s Pre-professional Division if they choose to pursue it long term.
PBT created the scholarship program in June 2013 to make the school, company – and art form – more widely accessible to students and families throughout the greater Pittsburgh area. In addition to talent and passion for dance, students must demonstrate financial need to be eligible
for scholarship funds.
At the audition, students will take a basic dance class instructed by PBT School Children’s and Student division faculty members. No previous dance experience is required. Children must be 5 to 8 years of age by Sept. 1, and must qualify for the Free and Reduced Lunch program or
meet similar requirements to be eligible for a scholarship. During the audition, PBT School will host an information session on PBT and the art of ballet for parents and family members.
“It’s really important to ignite the passion at a young age so they can take advantage of training and learning opportunities during these formative years,” said Marjorie Grundvig, PBT School co-director. “Some of these children could be our next generation of professional dancers. And
whether they choose ballet or a different career path, many will learn valuable skills from ballet that they’ll find helpful in other areas of their lives.”
The annual program aims to expose children to dance at an early age and make top-tier training accessible to talented students who demonstrate financial need. The program focuses on students from ages 5 to 8 – a pivotal stage to begin classical ballet training. Currently, 23 promising young students are receiving ballet training at PBT School through the Community Youth Scholarship Program.
By reducing potential barriers to training, these scholarship programs help widen the pool of talent that the company can attract to auditions, accept to its school and ultimately even recruit into the company, which is made up of 50 percent PBT School alumni.
The program is funded by an endowment fund from the Ladies Hospital Aid Society, among others, and by many individual donors who value the power of dance to enrich the lives of children.
To register for the audition, please complete the online registration form here. For questions, please contact Christina Salgado, director of education and community engagement, at 412-454-9105 or csalgado@pittsburghballet.org. Space is limited. For full audition guidelines and program details, please visit pbt.org/youthscholarships.