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

Posted on April 3, 2026 by Machaela Erdeljac

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Get a sneak peek of the dancers in the studio

 

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Spring Mix Casting Announced

Posted on March 27, 2026 by Machaela Erdeljac

Pittsburgh Ballet Theatre has announced casting for its upcoming performances of Spring Mix. The mixed repertory program features classical and contemporary works from visionary choreographers, including premieres and the return of beloved audience favorites. The works in Spring Mix include the Pittsburgh premiere of Mark Godden’s Angels in the Architecture, set to Aaron Copland’s Pulitzer Prize-wining Appalachian Spring, PBT Artistric Director Adam W. McKinney’s new staging of the Swan Lake Act II “ White Swan” Pas de deux, the return of Barak Marshall’s dynamic Monger and acclaimed choreographer Garrett Smith’s exciting world premiere of Meet You at Midnight. The family-friendly program will take place April 10-12 at the August Wilson African American Cultural Center.

Angels in the Architecture Casting

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Swan Lake Act II “ White Swan” Pas de Deux Casting

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Monger Casting

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Meet You At Midnight Casting

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Artists of Pittsburgh Ballet Theatre | Photography: Aviana Adams & Michael Henninger

Mark Godden’s Angels in the Architecture

Posted on March 12, 2026 by Machaela Erdeljac

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

Angels in the Architecture

Creating the Ballet

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

How Shakers are Woven into Angels in the Architecture

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

Aaron Copland and Appalachian Spring

About Aaron Copland

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

About Aaron Copland’s Ballet Works

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

Appalachian Spring Music

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

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  Artists of Pittsburgh Ballet Theatre | Photography: Justin Merriman

Celebrating Juneteenth

Posted on June 17, 2025 by Machaela Erdeljac

Pittsburgh Ballet Theatre is committed to increasing equity, access and opportunity in the art of ballet. We believe that bringing together people with diverse perspectives, histories and life experiences will make ballet richer, stronger and more innovative, resulting in vibrant experiences for all. As part of this commitment, PBT is supportive of Juneteenth events in the greater Pittsburgh area.

Juneteenth National Independence Day, is an annual holiday in the United States that is celebrated to commemorate the end of slavery in the United States. It celebrates June 19, 1865, when Union soldiers arrived in Galveston, TX, with news that the Civil War had ended and that enslaved African American people were free due to the Emancipation Proclamation.

According to Juneteenth.com, “Local and national Juneteenth take place around June 19 with the goal to promote knowledge and appreciation of African American history and culture. Juneteenth celebrates African American freedom and achievement while encouraging continuous self-development and respect for all cultures.”

Companies, arts organizations and professionals across the country often commemorate the holiday with performances, events and exhibits highlighting Black history, art, performers and Black-owned businesses. Pittsburgh has vibrant Juneteenth celebrations throughout the end of June that we hope everyone will enjoy.

Pittsburgh Juneteenth Events From June 19 To 22, 2025

Western PA Juneteenth Festival, June 19-22
Free Outdoor Concert Series every evening,
4:00-10:00 pm | Mellon Park

Juneteenth YouthFest, June 19-22
Youth sports tournaments and hands-on activities for kids and teens.
9 am-4 pm | Mellon Park

Juneteenth Cinema in the Park, June 16-21
Free outdoor movies in Pittsburgh parks at dusk. Schedule:

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• Monday, June 16, 2025, Banksville showing “Soul”
• Wednesday, June 18, 2025, Schenley Park at Flagstaff Hill showing “Fences”
• Wednesday, June 18, 2025, Schenley Plaza showing “Fences”
• Friday, June 20, 2025, Arsenal Park showing “Soul”
• Saturday, June 21, 2025, Grandview Park showing “Soul”
• Saturday, June 21, 2025, Riverview Park, at the base of the Observatory, showing “Fences”

Juneteenth Boat Party on the Gateway Clipper, June 19
10:30 pm-1:30 am
Tickets here

August Wilson African American Cultural Center
Performance by the Legacy Arts Project, blending rhythm, movement, and storytelling rooted in the African diaspora.
Intermission: Juneteenth, June 19 | 6:00 -10:00 pm

Juneteenth Celebrity Softball Game, June 20
Annual Juneteenth Negro League AmateurBaseball Exhibition with local activist and community leaders in honor of the Pittsburgh Negro League Teams – the Pittsburgh Crawfords and the Homestead Grays.
4:30 pm | Mellon Park Field #3

Juneteenth Freedom Parade, June 21
11:00 am | Parade begins at 5th & Liberty Avenues Downtown

Pittsburgh Year-Round Exhibits Celebrating Black Pittsburghers and History

Year-round exhibits detailing Black Pittsburghers’ lives, histories and contributions to the city and its culture can be found at:

Heinz History Center
“From Slavery to Freedom” Exhibit
This exhibit details more than 250 years of Black history in America and Pittsburgh.

“Pittsburgh: A Tradition of Innovation” Exhibit

• Learn about the Freedom House Ambulance Service, a trailblazing agency that trained Black men and women as paramedics to deliver desperately needed emergency medical care to the Hill District, Pittsburgh’s largest African American neighborhood.
• Step inside Pittsburgh’s premier jazz club, the Crawford Grill, and listen to music from some of history’s most prominent jazz musicians, such as George Benson, Billy Strayhorn, Stanley Turrentine, and Mary Lou Williams.

“Negro League Baseball” Exhibit
In the 1930s and 1940s, Pittsburgh was the center of Negro League baseball and home to two of the Negro League’s most dominant teams – the Homestead Grays and Pittsburgh Crawfords. From 1937 to 1945 the Homestead Grays won an unprecedented nine consecutive league pennants and three Negro League World Series titles.

August Wilson African American Cultural Center
This center frequently hosts celebrations of African American cultural achievements through music, visual art, poetry, literary works, lectures, discussions, film, theater and exhibits. One of its standing exhibits is
August Wilson: The Writer’s Landscape
An immersive exhibit is dedicated to the life and works of Pittsburgh Pulitzer-Prize-winning playwright and poet August Wilson.

Freedom Corner
Located at the intersection of Centre Avenue and Crawford Street in the Hill District, this monument marks a critical point in Pittsburgh’s Civil Rights history. Protests were frequently held here and in 1963, more than 2,000 Pittsburghers departed from here for Washington, DC to watch Dr. Martin Luther King Jr. give his famous “I Have A Dream” speech.

A Conversation with Marianna Tcherkassky about Les Sylphides

Posted on May 22, 2025 by Aviana Adams

Author: Diana Yohe, Soloist with Pittsburgh Ballet Theatre

Pittsburgh Ballet Theatre School will perform Les Sylphides in their Spring Performances, May 22-24. This historic ballet will be set by the quintessential Marianna Tcherkassky, who, for 26 years, was a PBT Rehearsal Director . Prior to her role at PBT, she was a ballerina at American Ballet Theatre for 26 years, 20 of them as Principal dancer.

Les Sylphides premiered in  1909 with choreography by Mikhail Fokine, and was the first plotless and abstract ballet. Les Sylphides is an ode to romantic reverie with stylized 19th century movements. The lone male poet and corps de ballet of woodland nymphs, also known as sylphs, dance classically to music composed by Chopin. While there is no particular plot, the dancing perfectly embodies the music to create a story for each audience member to uniquely imagine.

Marianna is a virtuoso of the romantic style, and while she has a storied career and experience beyond measure, she remains the most humbly talented person I’ve ever known. It is perhaps this quality that makes her artistry so unlike any other. Before we spoke about  Les Sylphides, specifically, Marianna spoke of her upbringing and private lessons with Edward Caton. At the end of the lesson, they would simply play beautiful music, and use imagery to improvise ballet and create a story. It is no surprise that this led her to be so inclined toward a ballet like Les Sylphides. While at ABT, she learned from watching incredible performances by Carla Fracci, Erik Bruhn and Natalia Makarova, and continually performed this classic ballet throughout her career.

Reflecting on Les Sylphides: What are your fondest memories of performing in Les Sylphides during your time with American Ballet Theatre?

Definitely having the chance to dance the prelude.
Watch Marianna perform the Prelude in this ABT performance of Les Sylphides:

Marianna’s Performance with ABT

There was something about the music, the softness and the gentleness that spoke to me. As far as choreography, the prelude is deceptively harder than it looks. There have been many ballets where you have such beautiful music to express yourself to, but the choreography is so challenging it can be a distraction to fully enjoying the dancing. The prelude is different. The challenge is about control, creating quality of movement and the illusion of floating, and I really embraced those challenges. I would imagine images and sounds like a nightingale singing in the forest, luring me in one direction and then another, and have this inner dialogue to use as motivation. The mystique of the movement is just as special as the steps. 

Embodying the Sylphs: How did you approach capturing the ethereal quality of the Sylphs on stage, and what advice do you offer dancers to achieve this effect?

The first rendering of Les Sylphides was in 1908 in St. Petersburg titled Chopiniana, and then premiered one year later in Paris retitled Les Sylphides. It has evolved and lived on through time, but setting it now, I didn’t want the ballet to look dated. First there is teaching the steps, but to stay true to the style it is important to approach the ballet’s specific quality of movement, and try to get the cast hearing the music and breathing together as one from the beginning. Although there is no story, there is one male figure called the poet and the sylphs are his inspiration. To set the ballet I spoke with the dancers about what they might be, each being woodland spirits or by using a specific beautiful word to inspire poetry. Establishing the scene was also very important, that they are in a clearing in a forest, the night of a full moon with dew glistening on the branches and magic in the air. During romantic ballets that are especially spiritual, I talk to dancers about imagery like their skin shimmering and catching the moonlight on their cheekbones to uplift them and use as inspiration. The choreography itself is like stepping on clouds or your arms floating on water.

Artistic Interpretation: How do you balance staying true to Mikhail Fokine’s original choreography while encouraging dancers to bring their personal artistry to the performance? 

The first version I danced, I learned under Dimitri Romanoff who actually worked with Mikhail Fokine. He was very specific about the rounded shape of the port de bras, and defined placement of head and shoulders whereas when Barishnikov took over, he went back to his Chopiniana roots in St. Petersburg. This encouraged more open and elongated port de bras, which allowed more freedom and use of the head. I wanted to try to marry both versions by being specific throughout, and by defining the soft romantic shapes and feeling in the choreography without making the dancers feel stiff and stilted in their movement. It was fun because I started with teaching the dancers the variations to get to know them, and learn their strengths. Teaching the dancers the quality of movement and to dance in a way they might not have before really showed who they were, and allowed them to feel the music. I knew that the ballet would be different from when I did it, and I didn’t want to lead with ever saying, “Well this was what it was like when I did it.” I just wanted to emphasize the style of movement and what the dancer was trying to say. Seeing the differences the dancers are bringing to Les Sylphides and how they are finding themselves within the dancing has been beautiful.

Passing the Torch: It’s essential to pass on classical ballets like Les Sylphides to emerging dancers and audiences. Can you speak to the importance of sharing classical ballet with the next generation?

It is about how you keep the art form relevant and the process of educating and being educated that never ends. I use a violin analogy to speak to my experiences with classical ballet. The Stradivarius violin is considered the ultimate violin, the best of the best. When one has had the opportunity to work with the best of the best and the experiences to gain the knowledge and education to discern the highest qualities of something, it helps to define your goals and ideals. You may not have the means to attain the Stradivarius violin, but you’re going to get as close to it as you can with what you have. The violin itself is constructed to produce a particular sound and a distinct technique to be taught and learned. Classical ballet is a genre of dance that has specific aesthetics that define it and a technique unto itself as well. Both take many years of mastering to excel and this endless journey for the artist keeps it relevant. As for passing the torch, a répétiteur coming to set a piece, besides knowing the choreography and musicality, should have an understanding of the ballet’s origin and the choreographer’s intent. When you’re staging, it might not be about every finger being in place as it was before, but about illuminating the inner light and life of the piece to keep it alive. That’s what great art is. It stays relevant through generations because the message it conveys is something universal and timeless.

Rehearsal Insights: What aspects of rehearsing Les Sylphides do you find most rewarding when working with young dancers?

I’d say seeing the individuality of the dancers and experiencing the qualities that they have. Seeing the dancers strengths, and then working even more on the quality, it’s beautiful how they respond to that work. I can see their inner life coming through throughout the process. The hard part is to let them go through the journey to find themself in it, as it’s always a fine line between giving all the information they need, but also making sure they have the freedom to explore. You don’t want them to feel like they have to do something a certain way just because someone before them did it that way. I just hope to help young dancers find their confidence, believe in themselves and trust their instincts.

Pittsburgh Ballet Theatre’s Founding Artistic Director Nicolas Petrov

Posted on May 20, 2025 by Machaela Erdeljac

NICOLAS PETROV, PhD
PBT’s Founding Artistic Director | 1969 – 1977

As Pittsburgh Ballet Theatre concludes our 55th Emerald Anniversary celebration, we recognize and honor Nicolas Petrov, Pittsburgh Ballet Theatre’s founding artistic director.

Nicolas was born in Yugoslavia in 1933, and studied ballet in Belgrade, joining Opera Ballet of Belgrade after graduation. At 19, he moved to Paris, where he danced professionally, and worked with many ballet luminaries of the day. He immersed himself in the arts, and honed other talents – he choreographed, directed and produced for ballet, film and television. He founded his own company, Ballet Petrov, and continued to perform with companies across the world.

In 1967, Nicolas and his wife, Mary, also an accomplished dancer, arrived in Pittsburgh to take the helm of the dance program at the Pittsburgh Playhouse. Other local arts organizations also welcomed his talent: the Pittsburgh Opera appointed him choreographer for the company, and Point Park College (now University) invited him to create what is now their nationally renowned dance department. Nicolas is currently Professor Emeritus at Point Park.

During these early years, he began training a corps of dancers, laying the groundwork for a professional ballet company for the city. In 1968, Nicolas met Loti Falk, a Pittsburgh arts patron and philanthropist. She attended a summer performance by the Playhouse ballet company and, while not a ballet lover at the time, she certainly became one after having seen Nicolas’s company of artists. In the fall of 1969, Nicolas and Loti founded Pittsburgh Ballet Theatre.

During his time at PBT, Nicolas brought many of the great classical ballets and dozens of contemporary works to Pittsburgh audiences. He also brought acclaimed artists to dance with and mentor the company – Edward Villella, Violette Verdy, Natalia Makarova, Ruth Page, Leonide Massine, Freddie Franklin and more. And he choreographed and created numerous original ballets, including the nation’s first Romeo and Juliet set to the Prokofiev orchestral score.

In 1977, Nicolas stepped down from his role at PBT to focus on the dance department at Point Park. He later became director of the Dance Division of Fine, Applied and Performing Arts and continued to teach and inspire students for more than 40 years. We are incredibly proud that, 55 years later, we have the capacity to continue the legacy that he first imagined.

All About the Wonderful PBT Orchestra

Posted on May 6, 2025 by Machaela Erdeljac

PBT is fortunate to have its own orchestra since 1987, which consists of professional musicians from all over the country. Those who don’t live in Pittsburgh fly here twice per year to provide live musical accompaniment for PBT productions. We all know that ballet is better with live music, and we’re proud to have these amazing musicians in our PBT family.

Audiences will have an opportunity to hear the PBT Orchestra play live with the Pittsburgh premiere of The Wizard Of Oz, May 9-18 at the Benedum Center.

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Our Conductor

Charles Barker is the music director and principal conductor for the PBT Orchestra. He is also the principal conductor of American Ballet Theatre, a position he has held for over 25 years. Barker was music director of the Australian Ballet from 1997 to 2001, then joined the Royal Ballet in London for two seasons. He regularly guest-conducts for San Francisco Ballet and Houston Ballet. As music director of the American Chamber Orchestra from 1981 to 1987, he made his Carnegie Hall debut in February 1983. He was a member of the Barnard-Columbia Ancient Drama Group, which presents Greek drama in the original language, and wrote music for productions of The Bacchae, Hippolytus and Heracles. Barker lives in New York with his wife, Miranda Coney, former principal dancer of the Australian Ballet, and their two boys.

Production Week for the PBT Orchestra

While our company artists move their rehearsals to the Benedum Center and our production team readies the technical elements of each performance, the PBT Orchestra is hard at work perfecting the music for the production. Below is a peek into what a typical production week, the week before opening night, looks like for them.

Before Production Week: The PBT Orchestra members receive their sheet music at least 30 days before rehearsals start. Yoland Collin, PBT’s principal company pianist, music administrator and PBT Orchestra manager, accompanies PBT artists on the piano throughout their rehearsal process.

Monday: The conductor, Charles Barker, comes to the Byham Center for Dance | PBT Studios, and watches a run-through rehearsal of the production, during which Yoland shares any tempo changes, stage cues, steps to follow, etc. with Charles. Charles then conducts Yoland on the piano for another run-through rehearsal. The first PBT Orchestra read, which is playing the score all together for the first time, takes place that evening at the Benedum.

Tuesday: Charles watches and conducts another run-through with piano at the Byham Center for Dance | PBT Studios. That evening is the second PBT Orchestra read at the Benedum.

Wednesday: PBT artists move into the Benedum for the technical rehearsal on stage (called the piano-tech). During this stop-and-start rehearsal, various elements of the production are assembled, including scenery and costume changes, props, blocking/spacing for the PBT artists and lighting adjustments. The show is run in order, but the production team takes time to stop and adjust things that don’t work. Sometimes scenes are repeated with another cast to allow them to try everything out for themselves. At this point, the PBT artists are still accompanied by Yoland on the piano while Charles conducts.

Thursday: Everyone comes together for the dress rehearsal at the Benedum. This is the first time the PBT artists hear – and dance with – the PBT Orchestra! The run-through doesn’t stop unless something significant needs immediate attention.

Friday: Opening night!

Performing with the Orchestra

We asked our conductor, Charles Barker, and a few PBT Orchestra members for their thoughts about what it is like performing in the PBT Orchestra. PBT Orchestra members we interviewed include:

• Linda Fisher, Principal Bassoon
• David Lintz, Principal French Horn
• Anne Victoria Nasevich, Violin
• Karen Sloneker, Trumpet

What is the most challenging part of accompanying a ballet performance compared to a traditional concert performance?

Charles: “Ballet and opera are theatre. It is an entirely different and non-comparable plane to a concert performance. Theatre has many, many components that concerts lack. Concerts have the advantage of singling out only the music as the most important element.”

Linda: “The most challenging part of ballet, as opposed to straight orchestra programming, is the length of the programs. Many productions are 2-2.5 hours with full orchestration.”

Anne Victoria: “The most challenging part of accompanying a ballet performance compared to a traditional concert performance is the ability to adapt. Musicians in a traditional concert also need to adapt to the musicians around them, but ballet is different in that the dancers are the soloists and the musicians accompany them. If the dancers change anything during a performance, we as the orchestra have a responsibility to play as one with the conductor, who oversees both the dancers and musicians.”

David: “The most challenging aspect of accompanying a ballet performance is perfecting the musical score to be ready with only two rehearsals. For the dress rehearsal, the music must already be performance-ready. The dress rehearsal is the only chance we have to rehearse with the dancers. In a traditional orchestra concert performance, there are usually five rehearsals. In an orchestra concert, there are usually three works performed. A short overture or contemporary work, followed by a concerto, with short breaks between the first work and the concert movements, followed by an Intermission, then a symphony with short breaks between the movements. A ballet score runs continuously with no breaks, much like a movie or opera score.”

What is people’s most common misconception about the orchestra’s role in ballet performances?

Charles: “The PBT audience loves the PBT Orchestra. It is evident in their applause. It is very gratifying to me to know they are so erudite and astute. This is not the case everywhere. I don’t believe our audience members have any misconceptions. They understand the importance of live music in ballet and they support it.”

Karen: “I don’t think that people understand the importance of the orchestra in ballet performance and the role it plays in allowing the dancers to be expressive and musical in their performance. The orchestra, following the conductor, works as an accompanying vehicle, very much like the orchestra accompanying a soloist in a violin concerto. The conductor follows the lead of the soloist, and the orchestra follows the conductor, allowing for greater musical expression in the service of the composer and the choreographer. When dancers perform to taped music, they must accommodate the taped performance rather than the music accompanying the movement. For those reasons, every ballet performance is different. We strive to follow what the dancers are doing, and sometimes that means a last note will be delayed or come along more quickly than the performance before. There is a sense of being part of one enormous musical experience expressed both in sound and movement.”

Linda: “I would say most audiences are not aware of the collaboration between the conductor and the stage. The partnership that sets tempos and then adjusts for each performance for individual artists.”

Anne Victoria: “I think that the most common misconception people have about the orchestra’s role in a ballet performance is when people assume that it is not as important as the dancing. To that, I would say both the dancers and the musicians are equally important, even though one is visible and the orchestra resides in the pit. We work together as a team so that the experience for the audience is amazing and fulfilling, so that they will come back to enjoy more wonderful productions. Everyone who is a part of making any production happen wants PBT to thrive because it is unlikely for one city to have excellence in the Pittsburgh Symphony Orchestra and the Pittsburgh Opera, but also Pittsburgh Ballet.”

David: “Some misconceptions some people may have are how the orchestra adapts to the dancers. Humans are not machines, so dancers may take more or less time for certain dance moves, especially when the cast changes for each performance. This enables the dancers to have more artistic expression when the music is flexible. A live orchestra can adapt if a dancer falls out of sync.”

How much of your performance is about synchronization with the choreography, and how much is about delivering a musical interpretation of the score?

Charles: “Good Question! Ultimately, it’s both. Within the framework of the choreography, I must make music. So I have to first learn the music, then the choreography, then meld them. Sometimes this is extremely difficult, but mostly it is just a matter of me hearing the music in my head over and over and coming up with just the right way.”

What happens if a dancer falls out of sync during a performance? How does the orchestra adapt?

Charles: “Things do go wrong on stage occasionally. It is a live performance. Part of my job is to be alert and aware of even minor deviations in the motions of a dancer in order to lead them or to give them time to catch up.”

Linda: “The conductor follows the core and soloists. They know the artists and the choreography, so they adjust to make it adapt to their performance or to push them. If individual core members are struggling, they will adjust to their lines. I think only soloists are followed so closely as to affect the orchestra. That said, the orchestration will have certain places where the group can allow time or speed up to allow the core to coordinate itself.”

Anne Victoria: “When we are in the orchestra pit, it is very difficult for many of us to see what is happening on stage. It is so critical for everyone to be locked into the conductor at all times, just in case a dancer falls out of sync. We all rely heavily on not only cues but, most importantly, tempi to suit the dancers’ needs.”

How do you collaborate with the artistic director, choreographer and dancers when preparing for a new production?

Charles: “The Artistic Director or the choreographer is ultimately responsible for the performance. My task is to bring their vision to life as concerns the music. In rehearsals, I work closely with Yoland Collin to tie all of the different aspects of a ballet together. This has to do with giving and taking cues, leading and following, and in general, being aware of the overall movement of the ballet.”

How do you prepare for a ballet both before and during Production Week?

Charles: “Preparation before production week is something I can do anywhere. Simply put, I learn the score – usually for memory – so I will be able to direct the PBT Orchestra musicians in the orchestra-alone rehearsals. During production week, Yoland is my key resource for connecting with the specific dancers and managing corners and junctions.”

How much time do you spend preparing for a ballet before Production Week?

Linda: “The prep time is really impossible to answer. Every instrument, every player, has their own strengths and weaknesses. The job of any performer is to present a level where no one knows what’s difficult. One player might have played a part several times, while for another, it could be their first. In addition, all players come from another symphony/opera and then work on the ballet before going to the next production, so most are working on repertoire from several jobs each week.”

Anne Victoria: “Truly, it depends on the ballet and the composer. Personally, I might prepare way too much, but it is beneficial to over-prepare so that I can look up at the conductor frequently and avoid second-guessing the music.”

David: “Orchestra musicians have to practice routines every day to stay in shape on their instruments, before even working on a ballet orchestral score. Lesser-known works must also be listened to.”

What is a PBT Production Week like for you?

Linda: “PBT weeks are very fast from the rehearsals to opening. We usually have two days to read as an orchestra, two dress rehearsals with the stage and then open and play 3-4 shows in a row (as opposed to opera, which is spaced out over 7-9 days, since singers do not perform the next day to protect their voices).”

Anne Victoria: “PBT production weeks are always very fun and exciting. The hardest part for me, which is learning the notes and rhythms, is over and then I can enjoy fitting in with the rest of the orchestra during rehearsals and concerts. Essentially, it is just big chamber music at that point with extremely hard-working and talented colleagues.”

David: “During the ballet production week, all of our other jobs we need to survive must be put on hold or intricately juggled with our other obligations.”

What are some of your favorite ballet scores to perform, and why?

Linda: “My favorite scores are the Russian Ballets – Romeo & Juliet, The Nutcracker, Rite of Spring, which ties into the best part of playing for the ballet. It’s an incredible collaboration of the arts – dance/music and the effect of each on the other. It’s amazing to feel the energy of a live performance. It never gets old!”

Anne Victoria: “Anything by Prokofiev fascinates me, so I would have to say both Cinderella and Romeo and Juliet are my favorites. Even though I am a violinist, I love to hear the brass because when they play, it sounds thick and glorious in the hall. I can almost feel the music in my body at times, and that is a unique sensation. I have heard a lot of people refer to this as the “boom of the hall,” and I couldn’t agree more.”

David: “My favorite ballet scores are the ones of Prokofiev. They are modern, but still accessible for most audiences.”

What is the most rewarding aspect of playing live for a ballet?

Karen: “The most rewarding aspect of playing for ballet sometimes occurs in the intermission. At that point, the orchestra pit is similar to feeding time at the zoo. My most memorable and gratifying experience with this happened during The Nutcracker years ago. A young child dressed in all of her ballet finery looked into the pit, then looked at her mother and exclaimed, ‘Mommy, I wondered where the music was coming from!’ As an early childhood music educator, I saw the future of live music in that child’s wonder.”

Anne Victoria: “The most rewarding aspect of playing live is the audience’s appreciation for not only the dancers but also the musicians. It’s a great thing to stand up at the end of a performance and see all the smiling faces. Live music is an incredible essence that cannot be replaced by recordings, and I feel privileged and grateful to be a small part of the Pittsburgh Ballet Theater Orchestra.”

David: “The most rewarding performances for me are when I sense a connection between the dancers, orchestra and audience. We all become one.”

Live music brings a layer of magic to live ballet performances, allowing audience members to be immersed in the world on stage. Pittsburgh Ballet Theatre considers itself very lucky to have such a talented group of professional musicians in the pit to help bring the Benedum Center to life. We invite audiences to experience the live music of the fabulous PBT Orchestra in The Wizard of Oz this coming May 9-18.

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Women’s History Month with Barbara Bears

Posted on March 12, 2025 by Ariana Gant

In honor of Women’s History Month, we will be spotlighting some of the women who help to lead Pittsburgh Ballet Theatre.  Our first profile is of rehearsal director Barbara Bears. Barbara joined Pittsburgh Ballet Theatre in 2023  after being a dancer with the Houston Ballet for more than 20 years, including as a principal dancer for 15 of those years. She also served as part of Houston Ballet’s artistic staff after her retirement from the stage. She created roles in more than 30 different ballets, most notably roles in Stanton Welch’s Indigo, Marie, Romeo and Juliet, and The Four Seasons and  Ben Stevenson’s Dracula and Evening. Below is a Q&A with her about her artistic inspirations.

What first inspired you to pursue ballet?

When I was in elementary school, I received a flyer about ballet lessons. My mom thought I would enjoy lessons and signed me up.  Here I am, decades later, with multiple successful ballet careers. 

What’s your favorite part of the rehearsal process?

I love seeing dancers I work with improve and grow as artists. 

What’s one of your most memorable moments from your dancing career?

Wow, I think I have too many to count. I’m so thankful for the opportunities I had as a dancer. I joined Houston Ballet as Corps member when I was 17. I worked with Margot Fonteyn, Jiri Kylian, Glen Tetley, Sir Kenneth MacMillan and countless other amazing choreographers and coaches. During my career, I had numerous ballet roles created for me and others that originated with me. I was fortunate to have had an extraordinary career that most dancers only dream of.

Who were some of your role models or mentors along the way?

Famed ballet dancers Natalia Markarova and Gelsey Kirkland were my idols. To me, they embodied every aspect of a role. They were amazing dancers and actors. 

I grew up in Florida with Dawn Scannell (former Houston Ballet principal dancer and current ballet stager). We were trained by the same teacher and danced our entire careers together. No one worked as hard, or was as invested in the work as Dawn. We went through a lot together and I couldn’t have made it without her.

How do you foster an environment of collaboration, support, and growth in the studio?

As a rehearsal director, when I’m in front of dancers in the studio, I try to coach the artist as a dancer first and the role they are practicing second. Each dancer needs something different and is at a different point in their career. I try to meet the dancers where they are at the moment and encourage them to share their thoughts and ideas.

How would you like to be remembered in the ballet world, and what kind of legacy would you like to leave for future women in the field?

So much of what we do involves passing on information to the next generation. I hope I’ve made a difference in someone’s career, and if I have, they will share what they learned throughout their careers with others.

What’s one thing you wish more people knew about the magic that happens behind the scenes in ballet?

It truly takes a village to produce a ballet! Everyone from the artists, crew, production, wardrobe, music and countless others must work together to get the show onstage. Next time you watch the Sugarplum Fairy in her Nutcracker variation, remember how many people contributed to the final product.

Celebrate Hispanic Heritage Month with Alejandro Diaz

Posted on October 1, 2024 by Machaela Erdeljac

National Hispanic Heritage Month runs from September 15 to October 15 each year. This special month celebrates the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America.

In celebration of Hispanic Heritage Month, we are excited to introduce to some of PBT’s Hispanic artists and staff members. Raymond Rodriguez, dean of PBT School; Alejandro Diaz, major gifts officer; and company artists Christian García Campos and Magnoly Batista share some of their families’ cultural traditions, favorite foods and what Hispanic Heritage Month means to them.

Next up is Major Gifts Officer and former Principle Artist, Alejandro Diaz:

What part of your culture do you hold closely to your heart?
Cuban culture is rich and multifaceted, with several elements that I hold close to my heart. Some of my most cherished aspects include: Cuban music genres like salsa, son, rumba, and mambo are integral to Cuban culture. Music and dance are essential parts of social life and are often passed down through generations. I have fond memories of attending family reunions and parties where music, dance and food were the focal point of the entire night.

What’s your favorite traditional Hispanic dish, and is there a special recipe or food that you think everyone needs to try once?
Cuban food, with its blend of African, Spanish, and Caribbean influences, have always been a source of pride. Dishes like ropa vieja, picadillo, and Arroz con Pollo to name a few. My personal favorites being Black Beans and Rice with a side of twice fried plantains (Tostones).

What aspects of Hispanic culture do you wish more people knew about?
Family is the cornerstone of Cuban society. Strong familial bonds and a sense of community are deeply valued. Celebrations and gatherings are often family-centered.

Who do you look up to – whether historical or contemporary – What about them inspires you?
Jose Martí was a name often spoken about in my home growing up. José Martí is one of the most revered figures in Cuban history and culture. He was a poet, essayist, journalist, revolutionary philosopher and political theorist.

Martí is often referred to as the “Apostle of Cuban Independence” due to his significant role in the fight for Cuba’s independence from Spanish colonial rule.
Martí was a prolific writer. His works include poetry, essays, and journalistic pieces that reflect his deep love for Cuba and his commitment to social justice. His most famous book, “Versos Sencillos” (Simple Verses), contains the poem “Guantanamera,” which has been set to music and is well known.

While Martí is a national hero in Cuba, his ideas and writings have universal appeal. His thoughts on freedom, justice, and human dignity resonate with people around the world. His work has been translated into many languages, and his influence extends beyond the borders of Cuba.

Tostones – Recipe

Ingredients

• 1 unripe plantain
• neutral oil for frying
• pinch of salt

Mojo dipping sauce

• 3 garlic cloves
• 1/2 cup cilantro
• 1/3 cup olive oil
• 1 jalapeno stemmed and deseeded
• 2 tsp sugar
• 2 tsp fresh lime juice
• 2 tsp fresh orange juice
• 2 tsp white wine vinegar
• salt & black pepper to taste

Instructions

• Heat up enough oil to shallow fry the plantain pieces
• Peel the plantain and cut it into 2 inch pieces. It is easier to remove the peel by making an incision lengthwise first.
• When the oil reaches 300 degrees Fahrenheit, start frying the plantains until they become golden, about 2-3 minutes.
• Remove the plantains and drain on a paper towel.
• Smash the plantains using a tostonera or anything flat. You can use a plate to apply pressure on top of the plantain until it is flattened.
• If you’re making a large batch, dip the smashed plantains in some lime water for a few seconds. This will keep them from oxidizing.
• Fry the smashed plantains again at 350 degrees Fahrenheit until they become crispy, about 2 minutes.
• Remove from oil and immediately season with a little salt. You want to do this while they are still hot from the oil, so that the salt sticks.
• Serve right away as a side, or as a snack. It goes well with a mojo dipping sauce- just blend all the ingredients together in a food processor.

Photography coutesy of Pittsburgh Ballet Theatre | Recipe: stellanspice

Celebrate Hispanic Heritage Month with Raymond Rodriguez

Posted on September 19, 2024 by Machaela Erdeljac

National Hispanic Heritage Month runs from September 15 to October 15 each year. This special month celebrates the histories, cultures and contributions of American citizens whose ancestors came from Spain, Mexico, the Caribbean and Central and South America.

In celebration of Hispanic Heritage Month, we are excited to introduce to some of PBT’s Hispanic artists and staff members. Raymond Rodriguez, dean of PBT School; Alejandro Diaz, major gifts officer; and company artists Christian García Campos and Magnoly Batista share some of their families’ cultural traditions, favorite foods and what Hispanic Heritage Month means to them.

First up is Raymond Rodriguez:

What part of your culture do you hold closely to your heart?
I cherish the opportunity to come together with family and friends to share meals, dance, and exchange stories.

Are there any specific activities or events you look forward to during Hispanic Heritage Month?
Food embodies the essence of family, community, and our island heritage. I eagerly anticipate finding time to immerse myself in the kitchen, where I can recreate the cherished traditional recipes passed down from my mom and aunts. From crispy empanadillas (fried Puerto Rican turnovers) and the hearty comfort of Frijoles (beans) to the sweet indulgence of Flan and the savory treat of Plátanos (fried plantains), each dish is a flavorful journey into our culinary traditions.

What aspects of Hispanic culture do you wish more people knew about?
Family—Family is the foremost loyalty for Puerto Ricans. Equally significant is the value of dignity, which holds a cherished place in our hearts. Puerto Ricans strive to embody dignity in their own lives and extend respect to those who do the same.

Who do you look up to – whether historical or contemporary – What about them inspires you?
Sonia Sotomayor. Supreme Court Justice Sonia Sotomayor shattered barriers by becoming the first Latina and the third woman to serve on the United States Supreme Court. Born in New York City to Puerto Rican parents, Sotomayor has made significant rulings, including upholding the Affordable Care Act and legalizing same-sex marriage. She stands as a beacon of aspiration, discipline, commitment, intellectual prowess, and integrity.

What’s your favorite traditional Hispanic dish, and is there a special recipe or food that you think everyone needs to try once? 
Arroz con gandules (see recipe below)—Considered a boricua staple, this signature Puerto Rican rice dish is consumed year-round. This recipe features yellow rice, pigeon peas (gandules), and pork. It represents the best of Latin flavors with ingredients essential to Puerto Rican culture. *See recipe below.

*Arroz con gandules – Recipe

Ingredients:

• ½ cup Achiote oil (recipe below)
• 1 cup sofrito (recipe below)
• 3 tablespoons alcaparrado or coarsely chopped pimiento-stuffed olives
• 3 tablespoons fine sea or kosher salt
• 1 tablespoon cracked black pepper
• 2 teaspoons ground cumin
• 2 pounds center cut pork loin chops
• One 13-ounce bag frozen pigeon peas or one 15-ounce can pigeon peas, drained
• 6 cups long grain rice
• Beef Broth, homemade or store-bought and/or water as needed (about 8 cups)
• 1 banana leaf, optional

For Achiote Oil:

• 1 cup olive oil
• 2 tablespoons achiote (annatto) seeds

For Sofrito:

• 2 medium Spanish onions, cut into large chunks
• 3 to 4 Italian frying peppers or cubanelle peppers
• 16 to 20 cloves garlic, peeled
• 1 large bunch cilantro, washed
• 7 to 10 ajices dulces (see note below), optional
• 4 leaves of culantro (see note below), or another handful cilantro
• 3 to 4 ripe plum tomatoes, cored and cut into chunks
• 1 large red bell pepper, cored, seeded and cut into large chunks
  * If you can’t find ajices dulces or culantro, up the amount of cilantro to 1 ½ bunches

Directions:

1. Heat the Achiote Oil in a heavy 5-quart pot or Dutch oven over high heat until rippling. Stir in the Sofrito, alcaparrada or olives, salt, pepper and cumin. Cook until the Sofrito stops boiling and starts to sizzle, about 5 minutes.
2. Add the pork and stir until they’re coated with oil, then stir in the rice until everything is mixed together and the rice is coated with oil. Stir in the pigeon peas, then pour in enough broth and/or water to cover the rice by the width of two fingers.
3. Top with the banana leaf, folding it up as necessary to fit over the rice. Bring to a boil and boil without stirring until the level of liquid meets the rice. Take the banana leaf off, give the rice a big, healthy stir and put the leaf back on top. Reduce the heat to low, cover the pot, and cook until the water is absorbed and the rice is tender, about 20 minutes.
4. Remove the banana leaf, give the rice a big stir and fluff it with a fork. Serve hot.

For Achiote Oil:

• Heat the oil and annatto seeds in a small skillet over medium heat just until the seeds give off a lively, steady sizzle. Don’t overheat the mixture or the seeds will turn black and the oil a nasty green. Once they’re sizzling away, pull the pan from the heat and let stand until the sizzling stops. Strain as much of the oil as you are going to use right away into the pan; store the rest for up to 4 days at room temperature in a jar with a tight fitting lid.

For Sofrito:

• Chop the onion and cubanelle or Italian peppers in the work bowl of a food processor until coarsely chopped. With the motor running, add the remaining ingredients one at a time and process until smooth. The sofrito will keep in the refrigerator for up to 3 days. It also freezes beautifully.

Summer Recap

Posted on August 30, 2024 by Machaela Erdeljac

Each year during June and July, PBT Company artists have a well-deserved summer break before the new season begins. Some of the PBT artists shared the different ways they spent their breaks outside of the PBT studios during the summer of 2024!

Corey Bourbonniere
PBT Soloist

“This is a photo of my friends and I backstage at Jacob’s Pillow, where we performed in MOBBallet’s Pathways to Performance: An Exercise in Reframing the Narrative.”

Pictured from the left: Ashley Murphy-Wilson (The Washington Ballet), Joshua Bodden (formerly Kansas City Ballet), Princess Reid (formerly Joffrey Ballet), Raquel Smith (Collage Dance Collective), Victoria Watford (Ballet Met), [Corey], Whitney Huell (Kansas City Ballet), and Ashton Edwards (Pacific Northwest Ballet).

Diana Yohe
PBT Soloist

“My husband Joe [Parr – former PBT artist] and I traveled to Sint Maarten, which is known as ‘the friendly island’ of the Caribbean. It had the most beautiful beaches we have ever visited and we finally got to properly celebrate his retirement from the stage. Truly a vacation of a lifetime!”

Caitlyn Mendicino
PBT Corps de Ballet

“While I was mostly teaching in PBT School’s summer intensive program, I did go camping with my husband Brian and dog Raven up in Cooks Forest.”

Amanda Morgan
PBT Corps de Ballet

“My husband and I went to Disney this summer to celebrate our 6th anniversary. The weather was absolutely beautiful, and we had a perfect week together.”

Kurtis Sprowls
PBT Corps de Ballet

“My boyfriend Philip and I took a vacation to Spain this summer. The photo was taken in the city of Toledo.”

Introducing PBT’s “Midweek Technique” Classes with Artists Tommie Lin Kesten and David O’Matz!

Posted on August 14, 2024 by Machaela Erdeljac

Are you looking for a ballet class for the young dancers in your lives to help them hone their dance skills for the coming dance year and competition season? Pittsburgh Ballet Theatre School has the solution! PBT School is introducing a brand-new beginner-intermediate class tailored for young dancers ages 10-13. These classes, presented in multiple six-week sessions, offer an amazing opportunity for younger dancers to refine their technique, gear up for dance competitions and learn from the top professionals in the field. The classes are open to any children with dance experience in the greater Pittsburgh area.

Session 1 takes place on Wednesdays from 6:15-7:45 pm between September 4-October 9, 2024. The first six-class session will be taught by Pittsburgh Ballet Theatre principal artist Tommie Lin Kesten and corps de ballet artist David O’Matz (alternating weeks). Sessions, offered at $120 for the six-week series, will take place at the PBT studios. Register for “Midweek Technique with Tommie and David”

Talented PBT artists will lead additional sessions every six weeks. More details will be available prior to the start of each session at here.

Register

Sessions:

• Session 1 September 4-October 9, 2024
• Session 2 October 16-November 20, 2024
• Session 3 December 4-18, 2024 & January 8-22, 2025
• Session 4 January 29-March 5, 2025
• Session 5 March 12-April 16, 2025
• Session 6 April 23-May 28, 2025

Details:

• Session 1: “Midweek Technique” with Tommie and David (alternating weeks)
• Session 1 Dates: Wednesdays – September 4, 11, 18, 25, and October 2 and 9, 2024
• Class Time: 6:15-7:45 pm
• Tuition: $120 for the six-week course

Stay updated on all things Midweek Technique through PBT School.

Stay Updated

Photos: Anita Buzzy Prentiss & Aviana Adams

Dyeing Pointe Shoes

Posted on July 9, 2024 by Machaela Erdeljac

From handcrafting tutus, dresses, jackets and headpieces to wig stylings, custume fittings and costume repairs, the PBT Costume Shop has a long list of duties throughout each season. One of these duties includes hand-dyeing pointe shoes. PBT Costume Assistant Kaylee Hansberry explains what goes into dyeing the artists’ pointe shoes. Pointe shoe dyeing ranges from bold, colorful shoes as part of costumes for ballet performances to the science of matching dyes to skin tones.

What do you use to dye pointe shoes?

Most of the time I use a product specifically designed for dying pointe shoes from a brand called Pointe People. Depending on how dark or saturated we want the shoe to be, I will often mix the dye with an alcohol base. This allows me to layer the dye on the shoe and adjust the color if needed. If I need a color that is not in the Pointe People line, I will either mix Pointe People dyes together to make a custom color, or I will use a mix of Rite dyes to create a custom color.

Is there a different technique when dyeing vibrant colors vs for matching skin tones?

The only big difference between dyeing vibrant colors and matching skin tones is that I will always use the alcohol base mixed with dye to color the skin tone pointes. This allows me to adjust color if I need to so I can make sure it is as close to the dancer’s skin tone as possible. When it comes to dyeing the vibrant colors, we want to get the shoe as saturated with color as possible. This often means I will apply the dye directly on the shoe without mixing in an alcohol base.

How do you apply dye to a pointe shoe?

When applying the color, I simply brush it on with a sponge as I have found this to give me a smooth and even finish. When adding a colored texture, I may use a different means to apply the dye such as a paint brush, a towel, or simply my hands.

How long does it take to mix the paints to perfectly match an artists’ skin tone?

It took me a little while to develop my dye recipes for the dancers. I probably spent a week working out different test dyes on shoes. Once we find a color that fits the dancer well, all I have to do is follow that recipe to make more. It only takes me about 5 minutes to whip up a batch of dye when I have the recipe worked out already.

How long does it take to dye a pointe shoe?

It only takes a few seconds to transform a pink pointe shoe into a beautiful dyed pointe shoe! Once I brush the color on to the shoe, I typically like the shoe to sit untouched for a minimum of 4-6 hours, 24 hours is preferred. That way the shoe fully dries before the dancer breaks it in or wears it for class/rehearsal/performances. It is very important that the dancer doesn’t wear wet shoes as it can impact the life of the shoe and cause it to die quicker.

How does painting a pointe shoe differ from the pancake method?

What is great about the dye methods I use, is that it allows for the pointe shoe to keep the shine of the satin. We can then add a translucent powder or rosin to the shoe to mattify it. Dyeing the pointe shoe this way opens us up to both options. When using the pancake method, a dancer is able to match their skin tone, however; the shoe only becomes matte and usually appears darker on stage than the actual skin tone due to how the pancake dries. I often recommend dancers to go a shade or two lighter than the foundation they usually wear due to this change.

Is the dye waterproof?

It is! Because a dancer’s foot will sweat inside the shoe, it is important for the dye to be waterproof so the color stays through multiple uses. This is also another reason I really like the Pointe People brand: their dyes are made exactly for this kind of usage.

On average, how many pointe shoes do you dye per season?

On average I dye around 350 pairs of pointe shoes a season.

Do you have any tips for dancers who are thinking about dyeing their shoes themselves?

My tips if you are looking to dye your own pointe shoes –

1. Go with the highest alcohol base you can find. I typically do 91% rubbing alcohol. This way the alcohol evaporates quickly off the shoe. We want to limit the amount of time the shoe is in contact with anything wet as much as possible.

2. Start with dying the vamp of the shoe first and make long quick strokes to cover the box. This helps the dye be applied evenly.

3. If you aren’t sure how the color is going to take and you don’t have a spare pointe shoe to practice on, apply a bit of the dye to the underside of the box. This way you can see what it will look like without ruining a perfectly good pair of shoes.

4. Get some disposable gloves.

Happy Dyeing!