24-25 Season
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!
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
PBT Artists’ Favorite Moments of 1st Flash
PBT Artists’ Favorite Moments of 1st Flash
Why They’re Are Excited to Dance It Again in Spring Mix: 5 for 55
Jorma Elo’s exhilarating 1st Flash will return to Pittsburgh Ballet Theatre’s stage April 4-6 in PBT’s Spring Mix: 5 for 5. Jorma was inspired by the feeling of anticipation just before a rock concert, which is reflected in both the lighting and music of the piece. Having been a hockey player as well as a dancer, his choreography in this piece mirrors the excitement, rhythm and speed of a hockey match. His passion for creating magic and movement perfectly designed to the music created by Finnish composer Jean Sibelius, results in a piece that will keep audiences on the edge of their seats, enthralled from beginning to end.
1st Flash was initially created with six young professional dancers just beginning their career. The original performances were accompanied by a projection of their parents’ reaction to them dancing. This piece continues to live on as a showcase of the dancers’ state of mind, their determination to prove themselves, and the nervous energy that comes with starting something new.
Pittsburgh Ballet Theatre had the privilege of performing this work in the spring of 2023. We asked some of the artists who performed it then and will perform it again this year what they want the audience to know about this ballet:
Corey Bourbonniere– PBT Soloist
This ballet was so much fun to learn and perform! Christophe Dozzi who staged the work on us was incredibly detail-oriented, and I love working that way. It makes every detail feel super important, and even if the audience doesn’t recognize all of them, our intentional and specific approach to the piece makes it that much more powerful, and hopefully enjoyable. This ballet is super quirky and groovy, but incredibly hard technically as well. The Jean Sibelius score married with Jorma’s choreography is so satisfying, both for the dancer and as a viewer! I loved performing it the first time, and I’m excited to find even more length and enjoyment this time.
As far as a favorite moment, it’d probably be my last solo, where I run downstage kick my leg up and stomp my foot down as if I’m saying, “my turn!” The choreography for that last solo is a flurry of arms and legs, whirling down onto the floor and flipping back up, culminating in a group of us almost conducting our mind’s version of the score. It’s epic! Coming back to a ballet allows you to dig that much deeper, and I can’t wait to dig into this incredible work again!
Erin Casale– PBT Corps de Ballet
I think 1st Flash is by far the most physically fulfilling piece I’ve ever performed. I was able to do it with such an amazing group of people, and I’m excited to take it on again with a new group. I also get to dance a lot with Jacob Miller, who I always adore dancing with. In this piece, you see every note of the music through movement and it truly brings the music to life. Jorma is such a breath of fresh air to work with and I hope we get to do more of his work in the future!
Tommie Lin Kesten– PBT Principal Artist
It is so exciting to be revisiting this ballet! Working with Jorma Elo was such an incredible experience the first time. It’s always special to bring back a role I’ve done in the past, because I really think it helps me see how much I’ve grown! I love the physicality of 1st Flash, it is so gratifying when you finish the ballet.
I am lucky enough to end the ballet onstage doing a pas de deux in silence and I remember how special that felt the first time we performed this. The music goes out and you can just hear our breath and our feet hitting the stage. You could hear a pin drop in the audience, it gives me goosebumps every time!
I’m also really looking forward to performing this in a more intimate setting! I always love being on the Benedum Center stage, but I think the audience will appreciate being closer to this action packed piece. Jorma’s choreography really brings the music to life, it makes me feel like I AM the music. I really encourage audiences to come see it again and definitely to come see it if you missed it the first time around!
Jacob Miller– PBT Corps de Ballet
I’d have to say my favorite part of dancing 1st Flash is the music that the piece is set to. Sibelius’ Violin Concerto is as complex as it is beautiful, with choreography that perfectly complements its crescendos and decrescendos.
I’d love to give a shout out to the dancers that I have the privilege to share the stage with in this program. 1st Flash has a cast of six dancers, and we have become so tight-knit with each other through our rehearsals. I don’t just see them as coworkers, but as good friends who I’ve bonded with over this work.
Performing this piece again, I feel that I have had time to mature into my dancing and partnering skills, which will allow me to take bigger risks on stage while keeping true to the detail and nuance of the choreography. I’m so excited for Pittsburgh to enjoy the marvel of 1st Flash again!
Joanna Schmidt– PBT Soloist
I am so excited to be working on this piece again because it is a true work of art, one that transports you somewhere else. Everyone is hyper-focused on what they’re doing, and the music is so beautiful. It starts off sort of calm and serene, then builds up to be very energetic and exuberant. It makes me feel so alive, whether I’m dancing it or enjoying it as a viewer. You won’t want to miss it!
Join us for Jorma Elo’s 1st Flash to watch music come to life, and enjoy four other compelling pieces in PBT’s Spring Mix: 5 for 55 running April 4-6 at the August Wilson African American Cultural Center.
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.
Dwight Rhoden’s Ave Maria with Diana Yohe
As a retrospective of its 55-year history, Pittsburgh Ballet Theatre (PBT) will perform five stunning classical and contemporary works in Spring Mix: 5 for 55 – including Dwight Rhoden’s intense and passionate Ave Maria. This Pas de Deux was originally created in 1995 as part of his ballet The Grapes of Wrath but was met with such acclaim that it has become one of Rhoden’s signature works and is regularly performed on its own. Set to Giulio Caccini’s beloved classical music of the same name, Ave Maria is innovative and athletic, characterized by deceptively complex lifts, jumps, slides and falls.
I was honored to perform this challenging work onstage in 2017. I’m delighted to share what it was like to dance this captivating piece.
The dance begins with the dancer standing upstage of their partner, close enough that when the first light shows a small circle over the center, you cannot be seen behind them. After the first few notes of the music play, I remember taking one deep breath together with my partner to start the performance because you have to be incredibly connected from beginning to end. Suddenly, you step out quickly from behind your partner and do three consecutive turns to développé a la seconde in what never feels like enough music but somehow always is… the rush becomes part of the musicality. From that moment on, you continue through a whirlwind of 4 minutes of movement and complex partnering, the only pause being a long, difficult balance.
Ave Maria, choreographed by Dwight Rhoden, has been performed on its own for years but is actually an excerpt from his ballet Grapes of Wrath, which premiered in 1995. I’ve done a few Dwight Rhoden pieces at Pittsburgh Ballet Theatre and his choreography always pushes the dancer into extreme positions while challenging you with fine details throughout. This pas de deux is a perfect example of stretching a position as far as you can while staying dynamic and true to the music. I was lucky to be coached by Dwight as well as stager Christina Johnson, who was in the original cast.
The partnering in Ave Maria is finely woven, and you are constantly speaking to your partner through touch and distance. I was in the absolute best hands dancing with Corey Bourbonniere, and while they made all the lifting and maneuvering look easy, it took coordination of movement and lots of fine-tuning to bring the beauty of this pas de deux to the stage. We were also fortunate to be very familiar partners when we learned this ballet together, and I think that kind of chemistry is essential for a piece where trust and awareness of one another is so integral.
Perhaps one of the most memorable moments in Ave Maria is the long balance done en pointe in a second position grand plié. There’s a moment before you arrive in the position where you guide your hands along the floor, and I was told to imagine I was preparing the ground. One of the most vital parts of that moment was finding a calm state of mind, which personally was like putting myself in a meditative state or a prayer. I would focus my gaze on a spot of the floor in front of me so that even when we got to the stage, the darkness and the lights wouldn’t throw off my balance. Visualizing myself floating in water or imagining that the air felt thick enough to support me from all sides would often help. Right when I thought I could not no longer hold the balance, Corey would come and sweep me off my feet for the final section of the piece.
One of my favorite attributes of certain ballets and pas de deuxs I’ve done in my ballet career is when they feel like a singular experience each time you dance it. Some ballets require so much awareness of what is going on throughout the entire run, that when you get to the end it feels like a pristine moment in time. This can even happen in rehearsal with certain special pieces. It usually comes at a point in the learning process where you’ve built the stamina to embody the movement completely, but it’s really the choreography itself that provides this feeling of absolute presence. In these particular ballets, there is no time to overthink what you are doing. You simply have to dance and afterwards think back to what could be improved. Ave Maria is definitely on the list of pas de deuxs that have felt this way for me. When performing, it feels like you and your partner are the only two people in the world.
The August Wilson African American Cultural Center provides the perfect venue for this pas de deux. The theater is intimate and the audience can really see the physicality of the dancers along with the intricate choreography that might get lost on a larger stage. I hope everyone who comes to the performance will experience what I felt when I danced Ave Maria, something deeper and bigger than themselves. The beauty of the movement and the music takes your breath away. When it’s over, I think Pittsburgh audiences will find that witnessing this touching pas de deux becomes a pristine moment in time they won’t likely forget.
Ave Maria 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.
William Moore’s World Premiere of The Rite of Spring
Pittsburgh Ballet Theatre will present The Rite of Spring as part of its Spring Mix: 5 for 55 mixed repertory performance on April 4-6 at the August Wilson African American Cultural Center. The Rite of Spring made an explosive entrance into the ballet world when it originated in 1913. It started a new era in music and dance with many choreographers since its first, Vaslav Nijinsky, inspired by composer Igor Stravinsky’s dynamic score. William Moore, PBT’s choreographer-in-residence for the 2024-25 season, will present the world premiere of his version of The Rite of Spring at a very appropriate time, as the music celebrates the advent of spring, its creative power and the forces of nature that humans cannot escape. With the long winter Pittsburgh is currently experiencing, watching a piece about the inevitability of spring will be a welcome experience!
William Moore has choreographed throughout his professional ballet dance career of over 14 years, 11 of them spent here at Pittsburgh Ballet Theatre. In rehearsals, he puts himself into the precarious positions he asks of his dancers when partnering or being partnered. The mood in the studio is light, but when it is time to run the piece, all focus is centered on the task at hand. The Rite of Spring’s usual primal and instinctual themes are present, along with a very strong sense of human connection. We asked him a few questions about The Rite of Spring, his choreography and his future ventures.
What are you drawing inspiration from for your version of The Rite of Spring?
I wouldn’t say I’m drawing inspiration from other versions of the The Rite of Spring. Each work has been so original and its own I didn’t feel the need to pay homage to a particular piece. The storyline has such a strong basis between its themes of spring and sacrifice and I wanted to continue the tradition of creating a very original work following those themes. Like all versions, though, I am finding most of my inspiration in its powerful score.
How would you describe your creative process?
My creative process involves taking everything from ideas on set to the lighting of the piece, but especially through movement and the people I am creating on. All these elements influence each other and help to contribute to the overall piece.
What are the challenges and advantages of Stravinsky’s score?
I started by exploring the time signatures and musicality and realized fairly quickly the complexity of the score would make choreographing precise musicality very difficult. While it can be difficult, the music itself offers so much expression. There is a lot of discord as well, so the options for choreography are pretty unlimited.
What has the transition from full-time dancer to choreographer been like?
As a full-time dancer, you are very driven and focused towards one goal. There’s a lot of structure in that you rehearse, there’s a show and then you are on to the next production. As a post-professional dancer but still being involved in the arts, I teach, create and choreograph so I get to play around with a lot more of the creative process. This gives me more freedom, so it’s more of finding a balancing act of a level of structure within that freedom. I’ve definitely been enjoying it!
What is it like to work with a company and dancers that you are so familiar with?
Nothing but good. When you’re dancing and choreographing along with interacting with dancers, that can be difficult. But being so familiar with the dancers and having a bit more separation now is ideal. I have a huge amount of respect for the company and having been there first hand, I understand what their day entails. I also know the dancers well enough that I have the knowledge of what suits them choreographically, along with what movement they generally would or wouldn’t prefer to do.
What is your new non-profit Cre8dance and what is its mission?
Cre8dance is an annual choreographic competition that will take place in Pittsburgh. It invites 8-10 choreographers each year to perform a work that will be assessed by judges. They will also be provided with resources to develop and succeed in their choreographic endeavors. The mission is essentially to help and progress choreographic talent and provide opportunities. Hopefully, the Pittsburgh audience will reap the rewards of seeing lots of brand-new work! The inaugural performance will be May 24, 2025.
With The Rite of Spring’s history of provoking a strong reaction from its audience, what are you hoping this version will inspire in Pittsburgh’s audiences?
I definitely didn’t hold back in my choices and really went for it. I hope it thrills the audience, but most of all, I hope it inspires the audience to come back to see more, especially mixed repertoire and new works. I think this is essentially the future and the most important thing to keep dance moving forward.
Photos by Aviana Adams
Join the PBT dancers to celebrate the inevitability of spring at PBT’s Spring Mix: 5 for 55 mixed repertoire performances April 4-6.
All About George Balanchine’s Sumptuous Emeralds
In celebration of Pittsburgh Ballet Theatre’s 55th Emerald Anniversary season, we are thrilled to bring emerald-themed ballets to the stage, including Peter Pan and The Wizard of Oz. What else could be more appropriate for our season than George Balanchine’s lavish production of Emeralds?
Keep reading to learn more about the history of Emeralds, and come see it in PBT’s Spring Mix: 5 for 55 April 4 – 6 at the August Wilson African American Cultural Center.
The Jewels Trilogy
Emeralds premiered in 1967 at the New York City Ballet as part of a three-act piece titled Jewels. The works were choreographed by George Balanchine, who is often referred to as “the father of American ballet.” In each of the three acts, Emeralds, Rubies and Diamonds, artists are costumed in each gem’s respective colors. Jewels is considered the first three-act storyless ballet, with the jeweled costume motif being the only consistent theme between the three. The three acts are often performed together but are also frequently performed separately as single ballets. According to Balanchine, these gemstone-themed ballets were inspired by his introduction to famed jeweler Claude Arpels.
Each act is accompanied by music from a different composer that reflects the varied dance styles and music of each work, thus giving them each an individual “personality.” Emeralds is French and romantic, set to Gabriel Fauré’s Pelléas et Mélisande and Shylock; Rubies, set to Igor Stravinsky’s Capriccio for Piano and Orchestra, is American and fiery; and Diamonds, set to Tchaikovsky’s Symphony No. 3 in D Major, is Russian and classical.
Emeralds
Emeralds, the French piece set to music by Gabriel Fauré, is fluid and softly passionate, with elegant, graceful dances that seem the peak of lyrical romanticism. It is danced by two leading couples, three soloists, and a corps of ten women. The costumes incorporate soft green, calf-length romantic tutus, a rarity for Balanchine, who rarely used longer tutus.
PBT has had the pleasure of performing Emeralds as a part of Jewels two other times in its 55-year history, in 1997 and 2000. Interested in reading about all the fabulous places this ballet has been performed? The George Balanchine Foundation has kept a record!
About George Balanchine
George Balanchine (1904 – 1983) was one of the preeminent choreographers of the 20th century. Born in St. Petersburg, Russia, Balanchine studied both music and dance at a young age, graduating from the Imperial Ballet School and studying at the Conservatory of Music in St. Petersburg. He danced and choreographed for a number of companies across Europe before coming to America, where he co-founded the School of American Ballet in 1934 and later the New York City Ballet (NYCB) in 1948. From 1948 until his death 35 years later, Balanchine served as NYCB artistic director, choreographing (either wholly or in part) a catalog of 465 works.
Balanchine developed a signature ballet style that became known as neoclassical, combining traditional ballet with modern and abstract movements. His works often de-emphasized plot (as can be seen in Jewels), played with speed and syncopation, and prioritized technique and athleticism. In addition to his extensive catalog of ballets, Balanchine created works for Broadway, Hollywood, television and vaudeville, becoming an industry-shaping force in America and the world.
Looking for more Balanchine facts? Read our “Balanchine | 15 Facts & Beyond” blog post!
Stay tuned to learn about the other pieces in our Emerald Season’s Spring Mix: 5 for 55!
Spring Mix: 5 for 55 will perform at the August Wilson African American Cultural Center from April 4-6, 2025.
10 Things to Know About PBT’s Romeo and Juliet
10 Things to Know About PBT’s Romeo and Juliet
Premiering This Valentine’s Day Weekend
This Valentine’s Day, join Pittsburgh Ballet Theatre for the classic love story of Romeo and Juliet. Jean-Christophe Maillot’s stunning choreography evokes all the romance and heartbreak we’ve come to love about Romeo and Juliet. While this production follows the traditional tale, there are a few differences. Keep reading to learn:
10 Things to Know About PBT’s Romeo and Juliet.
- Maillot choreographed this version assuming that everyone in the audience already knew the classic story. If it’s been a while, here’s a brief refresher!
- This ballet offers a fresh recounting of the tragic love story from Friar Laurence’s perspective. Tortured by his hand in the tragedy, the friar recounts the story’s events through a series of flashbacks.
Alexandra Kochis and Christopher Budzynski in PBT’s 2009 production | Photo: Rich Sofranko - While Shakespeare’s play focuses largely on the two feuding families, this ballet focuses on the follies of youth and the ramifications of young love spiraling out of control.
- Described as a cross between classical and contemporary ballet, this production focuses on capturing the performers’ emotions.
- The simple, elegant costumes were designed by famous Parisian costume designer Jerôme Kaplan. View some of his original design sketches and other works on his website.
- This is not the first time PBT has performed this version of Romeo and Juliet. In its 55-year history, PBT has performed various versions of the ballet eleven times with six different variations. PBT last brought Maillot’s version to the Benedum Center in 2009.
- The music was composed in 1935 by renowned Russian composer, Sergei Prokofiev, known for many famous scores like Peter and the Wolf.
Jean-Christophe Maillot | Photo: Alice Blangero - These performances will be accompanied by the exceptionally talented PBT Orchestra! Read a bit about our skilled orchestra here.
- Choreographer Jean-Christophe Maillot has had an extremely accomplished career, having served as the Choreographer-Director of Les Ballets de Monte-Carlo since 1993 and having developed over 40 professional works, including ballet adaptations of Cinderella, Sleeping Beauty and The Taming of the Shrew. Notable awards and distinctions include the Nijinsky Award for Best Choreography for the production of La Belle, the Golden Mask for Best Performance for La Mégère Apprivoisée, Knighthood in the Légion d’honneur and the Ordre des Arts et des Lettres, and the Prix de Lausanne Lifetime Achievement Award, among many others.
- Maillot’s version premiered in 1996 at the Salle Garnier Opéra de Monte-Carlo with Les Ballets de Monte-Carlo. Nearly thirty years later, we’re proud to continue bringing this visionary masterpiece to the stage.
Interested in hearing some fun facts about the original Shakespearian play? Look no further than:
10 fun facts about Shakespeare’s Romeo and Juliet
- Since its premiere about 430 years ago, Romeo and Juliet has been adapted hundreds of times, with about 50 direct film adaptations, over 100 more indirect film adaptations like West Side Story and dozens of ballets, operas and musicals.
Juliet’s Balcony in Verona - Even though Shakespeare set 13 of his plays in Italy, scholars find it unlikely that he ever visited Italy. However, between 1585 and 1592, Shakespeare disappeared from public record, a period widely known as his “lost years.” With no idea where he went or what he was doing, it’s certainly possible he got to see the country he wrote about so often.
- The Montagues and Capulets were real 13th-century Italian families so notorious for their feud that they were even referenced in Dante’s 14th-century poem The Divine Comedy.
- Although there’s no record that Romeo and Juliet themselves were real, the city of Verona, Italy (where the play takes place, has deemed two sites within the city as Juliet’s balcony and Juliet’s tomb. Juliet may have been fictional, but hundreds of tourists pay to view her balcony and tomb every day.
- Every year since the 1970s, letters about love have been sent to Juliet in Verona. Consequently, an organization was founded, the Club di Giulietta, where volunteers respond to these letters and award a prize for the most beautiful letter every year. This tradition inspired the 2010 Amanda Seyfried movie “Letters to Juliet”.
1657 Script- The Excellent and Lamentable Tragedie of Romeo and Juliet - Shakespeare wrote Romeo and Juliet between 1594 and 1596. It was first published in 1597 in an unauthorized quarto and then again in 1599 in an authorized quarto.
- The play was originally titled The Most Excellent and Lamentable Tragedie of Romeo and Juliet.
- The events of the play take place over just four days. Talk about a whirlwind romance!
- ‘Romeo’ and ‘Juliet’ are the words that represent the letters ‘R’ and ‘J’ in the NATO Phonetic Alphabet, famously used by the military.
- Since Shakespeare died well over 70 years ago, Romeo and Juliet is in the public domain. This means that anyone can use, perform, or adapt the play without seeking permission or paying for its use. Consequently, there’s no way to know how often the play has been performed over the past 400 years. At this point, at least tens of thousands of audiences have seen this iconic play.
In the R&J Rehearsal Studio
PBT Artists | Photos: Aviana Adams
Join us for Romeo and Juliet from February 14 – 16, 2025, at the Benedum Center. Purchase tickets here!
Romeo & Juliet with the PBT Orchestra Casting
Pittsburgh Ballet Theatre will present the world’s most famous and romantic love story, Romeo & Juliet, over Valentine’s Day weekend at the Benedum Center. Five performances, including a student matinee, will be staged from February 14-16.
Choreographer Jean-Christophe Maillot provides a refreshing and captivating update of William Shakespeare’s beloved tale, telling the classic story of young love blooming, growing, and ultimately spiraling out of control.
Maillot’s style unifies classical and contemporary ballet. The minimalistic sets amplify the dancers’ emotions and allow audience members to truly experience the turmoil and passion of the characters onstage. Emotional performances from PBT artists and Prokofiev’s unforgettable score, masterfully performed by the PBT Orchestra, underscore the beauty of this stunning ballet.
Artists: Colin McCaslin, Grace Rookstool, Tommie Lin Kesten, Lucius Kirst | Photography: Aviana Adams | Videography: Dustin Wickett
Artists Favorite Past Roles
PBT Artist’s Favorite Past Roles from The Nutcracker
Every holiday season, Pittsburgh Ballet Theatre (PBT) brings the magic of The Nutcracker to life, enchanting audiences with its timeless story, dazzling choreography, and beautiful music. For many PBT artists, The Nutcracker holds a special place in their hearts. From the whimsical roles of childhood to the more complex characters they portray as professionals, each dancer has cherished memories and favorite roles that have shaped their careers and love for the art form.
Abigail Huang – PBT Apprentice
Snowflake
Ariana Chernyshev – Corps de Ballet
Snow Queen
Erin Casale – Corps de Ballet
Harmony & Aunt Hortense
Hannah Carter – Principal
Snow Queen and Sugar Plum
Jack Hawn – Corps de Ballet
Drosselmeyer
Jacob Miller – Corps de Ballet
Rat King
Josiah Kauffman – Soloist
Nephew
Lucius Kirst – Principal
Sugar Cavalier
Amanda Morgan – Corps de Ballet
Marie 
Tommie Lin Kesten – Principal
Elegance
Magnoly Batista – Corps de Ballet
Elegance
Sam DerGregorian – Corps de Ballet
Joy
The Nutcracker Casting Has Arrived
The most magical time of the year is arriving soon with PBT’s The Nutcracker! Performances will take place Dec. 6-27 at the Benedum Center in Pittsburgh. Join Marie, her Nutcracker prince and hundreds of colorful characters for an unforgettable adventure through the Land of Enchantment.
Create a new tradition with your family and friends while enjoying the stunning scenes, spectacular costumes, sparkling snowflakes and famous Tchaikovsky score. All of the roles are performed by the talented artists of Pittsburgh Ballet Theatre and Pittsburgh Ballet Theatre School.