The Nutcracker Casting Has Arrived

Posted on November 25, 2024 by Machaela Erdeljac

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.

Student Matinee Casting on December 6 at 11 am

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Performance Dates: Dec. 6 at 7 pm | Dec. 7 at 7 pm | Dec. 14 at 2 pm | Dec. 21 at 2 pm | Dec. 26 at 2 pm

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Performance Dates: Dec. 7 at 2 pm | Dec. 8 at 12 pm | Dec. 15 at 12 pm | Dec. 21 at 7 pm | Dec. 27 at 2 pm

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Performance Date: Dec. 8 at 4:30 pm

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Performance Date: Dec. 13 at 7 pm

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Performance Date: Dec. 14 at 7 pm

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Sensory-Friendly Casting on Dec. 15 at 4:30 pm

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Performance Dates: Dec. 19 at 7 pm | Dec. 22 at 4:30 pm

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Performance Date: Dec. 20 at 7 pm

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Performance Date: Dec. 22 at 12 pm

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Performance Dates: Dec. 23 at 7 pm

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Performance Date: Dec. 26 at 7 pm

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A Tale of Two Peter Pans

Posted on October 22, 2024 by Griffin Wirth

The timeless tale of Peter Pan has captivated audiences for over a century. This week, audiences can experience a bold new ballet adaptation by renowned choreographer Trey McIntyre. The Pittsburgh Premiere of his 2024 production reimagines the classic story with punk-inspired costumes, contemporary choreography, and a dynamic musical score. It varies greatly from the Peter Pan ballets PBT has previously performed, including Jorden Morris’ version in 2016.

Pittsburgh Ballet Theatre artist Kurtis Sprowls, who plays James Hook, the son of Captain Hook, says the audience will love McIntyre’s Peter Pan because “…[it puts its own] spin on the classic tale and introduce new characters for the audience to fall in love with.”

Discover the differences between these two productions and why McIntyre’s Peter Pan is a must-see event that brings Neverland to life like never before.

Costumes and Set Design

Jorden Morris’ 2016 Peter Pan

Jorden Morris’ design elements are traditional, aiming to create a Neverland that stays true to the classic story. The costumes stay true as well, with Peter Pan in his iconic green outfit, Wendy and her brothers in nightgowns, and Captain Hook in a traditional pirate costume. The set design includes backdrops and props that bring Neverland’s lush forests and pirate ships to life.

Trey McIntyre’s 2024 Peter Pan

McIntyre’s adaptation features punk-inspired costumes and bold set designs. Peter Pan sports a rebellious look, while Captain Hook’s striking costume has edgy pirate elements with a modern misshapen bony hook. The use of giant puppets and vibrant colors creates an immersive, fantastical Neverland. This fresh aesthetic makes McIntyre’s production visually captivating and unique.

Choreography

Jorden Morris’ 2016 Peter Pan

Jorden Morris’ choreography focuses on storytelling through dance. Morris uses traditional ballet techniques, blending them with theatrical elements to bring the characters and their adventures to life. Key scenes, such as Peter Pan’s flight, the Lost Boys’ playful antics, and the dramatic confrontations with Captain Hook, are choreographed to highlight the magical and adventurous spirit of the story. 

Trey McIntyre’s 2024 Peter Pan

McIntyre’s updated choreography incorporates elements of physical theater, creating a whimsical and adventurous performance. His innovative movement sequences, including elaborate flying and acrobatic scenes, add a thrilling dimension to the story. This dynamic choreography ensures an engaging and emotional experience for the audience.

Music

Jorden Morris’ 2016 Peter Pan

The musical score for Jorden Morris’ 2016 Peter Pan, arranged by Sir Benjamin Britten, Eric Coates, Sir Edward Elgar, Ron Goodwin, and Montague Phillips, is full of rich classical and cinematic compositions. This music helps to create a whimsical and adventurous atmosphere. The music plays a crucial role in driving the narrative forward and enhancing the overall experience for the audience.

Trey McIntyre’s 2024 Peter Pan

The musical score, composed by Edward Elgar, and arranged by Niel DePonte, uses classical influences. This use of music complements McIntyre’s adventurous vision, enhancing the performance’s playful and thrilling atmosphere. The music’s dynamic range captivates the audience from start to finish.

Listen to The Wand of Youth Suite Nos. 1&2, by Edward Elgar.

Trey McIntyre’s 2024 Peter Pan is a family-friendly performance that showcases an innovative take on the classic tale. With modern aesthetics, bold costumes, and dynamic choreography, this daring adaptation promises a unique and exciting journey to Neverland. Don’t miss Pittsburgh Ballet Theatre’s presentation from October 25-27, 2024, at the Benedum Center. Get your tickets below and experience the magic of the Pittsburgh premiere of McIntyre’s fresh take on  Peter Pan! You won’t want to miss this unforgettable adventure!

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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!

Celebrating Juneteenth at PBT with Corey Bourbonniere and Reframing the Narrative

Posted on June 13, 2024 by Machaela Erdeljac

Juneteenth National Independence Day, is a holiday in the United States that is celebrated annually to commemorate the end of slavery in America. It celebrates June 19, 1865, when the final enforcement of the Emancipation Proclamation was ordered in Texas at the end of the American Civil War.

Arts organizations and professionals across the country often commemorate the holiday (and often all of June or the summer months) with performances and exhibits highlighting Black artists.

Corey Bourbonniere, a Soloist with Pittsburgh Ballet Theatre, has been an active participant in several of these celebratory events over the past few years. In 2022, they worked with Theresa Ruth Howard and MOBBallet to debut Reframing the Narrative at The Kennedy Center. This program included the world premiere of Donald Byrd’s From Other Suns, featuring resident Black artists, including Corey, who work in predominantly white companies, and who had the opportunity with this program to be in an entirely Black creative space as they built and performed this ballet.

This summer, Corey is participating in Theresa Ruth Howard’s Pathways to Performance: Exercises in Reframing the Narrative, and it is a culmination and continuation of the aforementioned programs. It will be shown at both The Kennedy Center and Jacob’s Pillow this summer and will feature newly commissioned works by Jennifer Archibald, Portia Adams, Kiyon Ross, and Meredith Rainey, as well as excerpts of Donald Byrd’s From Other Suns. It is an opportunity to showcase the works of some established Black choreographers, as well as choreographers who were mentored in MOBBallet’s Pathways to Performance symposium.

Watch From Other Suns World Premiere

Below they share their personal experiences and insights.

Why is Reframing the Narrative important to the dance world and in life?
Reframing the Narrative was such a monumental program, as it lifted up and celebrated the contributions of Black ballet dancers to the art form. Denise Saunders Thompson curated the portion of the program that featured predominantly Black companies, including Dance Theatre of Harlem, Collage Dance Collective, and Ballethnic, while Theresa Ruth Howard curated the residency that I was honored to be a part of, which involved the creation of Donald Byrd’s world premiere ballet From Other Suns. He created this on 11 Black dancers, myself included, who dance in companies in the US and abroad where we are one of a few, or the only Black dancer in our ranks. With the outcries for racial justice happening around the country, it was such an important moment personally to be surrounded by Black creatives and to feel like I could just be, without the sort of armor and pretense that I’ve felt in predominantly white ballet spaces. There was such an environment of support and healing in working with Theresa and the other residency artists that I feel emanated from the stage during our performances. To be able to perform on the nation’s stage in my truest form, feeling that my identity and worth were essential to the program was everything. I think it was a critical moment for the ballet community to be able to see us in that light. We are so much more than the limitations often put upon us by the ballet community at large.

What did it mean to you personally to be a part of this incredible project?
Theresa Ruth Howard is such an important figure in the ballet field right now. She’s someone who’s seen the need for Black ballet dancers to be seen and celebrated, she’s seen the need for Black choreographers in ballet to be taken seriously and to hone their choreographic and business skills, and she’s created the perfect avenue for both missions. When I worked with Theresa on

Reframing the Narrative in 2022, it was the first time as a Black dancer that I’d ever been in the majority in a room of ballet dancers, and the first time I’d ever been in a room of only Black ballet dancers. I have worked with some Black choreographers and teachers in the past, however, this was the first time I’d performed to a piece of music composed by a contemporary Black composer (Carlos Simon), the first time I had worked with a Black lighting designer (Pamela Hobson), a Black stage manager (Nicole Walters), a Black conductor (Leslie Dunner). And beyond the monumental “Blackout” that was curated for this program, we had so many moments to be in community with each other as artists who work in typically white spaces. It was extremely healing to be in a space where I didn’t feel like the only one, or one of few, and where I felt that my talent and my identity were wholly appreciated. I felt that my Blackness became irrelevant and that I just was able to be more of myself. It was the first time in my professional career that I really felt celebrated for being exactly who I am. There are no words adequate enough to explain what that experience has done for me personally and professionally. I am forever grateful.

How has it inspired you and your work moving forward?
Being a part of this program taught me so much about the way I want to carry myself in the studio. Theresa often would talk about what it means to be a good citizen. How can we move more in the direction of one another in an art form that constantly pits us against one another? There is a culture in ballet of infantilization, suffering in silence, and hyper-competitiveness that didn’t permeate this space. I felt like I really had a voice in the studio and in the process. On top of that, I feel like the dancers all supported each other in a way that I’ve continued to try to emulate in my regular work. Donald Byrd would give some extremely challenging prompts in the process of building his work, and it felt overwhelming trying to retain all of the choreography, especially early on in the process. What was beautiful is that the dancers in that space wouldn’t leave anyone high and dry. If someone was struggling with the choreography, we found ways to support each other, to share information, to build each other up. It was so atypical of a usual studio environment, where if you can’t keep up, it can often feel isolating and anxiety-inducing. I’m now so much more conscious of the way that I show up for my peers in the studio because it’s so important to me to try to spread that sense of support and community.

What do you hope people take away from Reframing the Narrative?
I hope with this program, and with the upcoming Pathways to Performance: An Exercise in Reframing the Narrative, that we do away with notions that ballet doesn’t belong to certain people. Black people are often put into a box of what is and isn’t appropriate or possible for them, and this holds true in ballet as well. Too many talented, capable Black dancers are often held to a different standard than their white peers, and I think it’s time we do away with that. The same is true for choreographers, which is why I’m so excited that Theresa has curated yet another program to highlight the works of both established and emerging Black choreographers, whose works will feature many of the dancers involved in the RTN residency, as well as some new faces. It was important to Theresa to develop the artistic voices of up-and-coming Black choreographers who have backgrounds in ballet, but are often pigeonholed into creating works for ballet companies in the “contemporary” or “modern” form, and who don’t often get the opportunity to create in the ballet vernacular. This program is in partnership with the Kennedy Center and Jacob’s Pillow and will premiere at both this July. Theresa is looking at the areas of the ballet field that are underserved or underrepresented, and she is creating opportunities for Black artists and creatives to collaborate and develop bodies of work that will be stamped into the ballet archives. I think we can all learn a lot from the work that she’s done and continues to do. We’ve created this culture of exclusivity and uniformity, a culture of white supremacy, and Theresa is showing the ballet community that we can create one of inclusion, of community, of celebrating diversity and individuality, and of radical empathy.

Watch Reframing the Narrative Documentary

Photos Courtesy of @miranza_s Instagram

Additional Links and Information for Reframing the Narrative and Pathways to Performance:

• Info on Memoirs of Black in Ballet’s Pathways to Performance
  The Kennedy Center: Info on Pathways to Performance: Exercises in Reframing the Narrative
• Jacob’s Pillow: MOBBallet: Creating Pathways to Performance
• Follow MOBBallet on Facebook and Instagram

Juneteenth Resources:

Pittsburgh: 

• VisitPittsburgh: 2024 Juneteenth Homecoming Celebration | Point State Park + Market Square
• VisitPittsburgh: Black-owned Businesses in Pittsburgh
• August Wilson African American Cultural Center
• 1HOOD’s Art as Liberation Pirates game
• Juneteenth Celebration at Les Getz Memorial Park

National:

• NMAAHC | Smithsonian: The First Juneteenth
  NMAAHC | Smithsonian: Juneteenth Reading List
  NMAAHC | Smithsonian: Juneteenth Today
  Fast Company: How Companies and Individuals Can Use Juneteenth to Practice Active Allyship
  Boston University: Celebrate Juneteenth with These 15 Films, Podcasts, TV Shows, Albums, and Books
  Bustle: 11 Podcasts About The History Of Juneteenth
  PBS Kids: 5 Ways to Celebrate Juneteenth With Your Family
  Today: 53 Juneteenth recipes from Black chefs and cooks
  Spotify: Songs for Freedom
  History: What is Juneteenth

Announcing Six New Artists for PBT’s 24/25 Season

Posted on June 10, 2024 by Machaela Erdeljac

As PBT’s 2023-24 season comes to an end, we’re excited to announce six new updates to the company roster for our upcoming 55th Emerald Anniversary season. PBT is pleased to welcome six talented new artists into the company for the 2024-25 season.

Corps de Ballet

Magnoly Batista
Joined Houston Ballet as an Apprentice from Houston Ballet Academy in 2020, and was promoted to a member of the Corps de Ballet in 2021

Rylan Doty
Formerly an Apprentice at Houston Ballet and trained with Central Pennsylvania Youth Ballet, Houston Ballet Academy and Houston Ballet II

Andre Gallon
Andre was a company member with Ballet Memphis, where he joined in 2021, and was also a member of Orlando Ballet company.

Madison Russo
Madison joined Houston Ballet as an Apprentice and was promoted to Houston Ballet’s Corps de Ballet in 2019.

Apprentices

Anya Chiu
Anya trained at The Washington School of Ballet and was accepted into the Trainee Program in 2022.

Amelia McGravey
Joined Houston Ballet Academy for the 2021-2022 school year, before being promoted to Houston Ballet’s Second Company in 2022

William Moore’s Favorite PBT Moments

Posted on May 1, 2024 by Machaela Erdeljac

PBT Soloist William Moore will be retiring from the company on May 18 during Cinderella. Moore danced with PBT for more than 11 years, as well as choreographed for them. Moore will remain in his PBT Choreographer-in-Residence role through 2024 and will create an updated version of Rite of Spring for PBT’s Spring Mix: 5 for 55 performance in April 2025. Below, he remembers some of his career highlights and favorite roles throughout the years.

Ballet: Diamonds by George Balanchine © The George Balanchine Trust
Roles: Principal
Year: 2021
“Walking across the Benedum stage at the beginning of the principal pas de deux was so calming. The pas de deux is very indulgent, and it was a moment when I truly felt present on stage.”

Ballet: Petite Mort by Jiří Kylián
Year: 2015

“This was always a dream ballet for me to perform. Kylián’s movement has such a seamless, beautiful quality. Paired with Mozart’s music, it is a true masterpiece and an experience I will always remember.”

Ballet: Sinfonietta by Jiří Kylián
Year: 2015

“Another one of Kylián’s works. I love how much energy Sinfonietta has, with fast-traveling movement that transitions seamlessly from step to step. It’s a joy to perform!”

Ballet: In the Middle, Somewhat Elevated by William Forsythe
Year: 2015

“William Forsythe’s staple work, In the Middle, was another dream piece to perform. It was a real challenge to dance so sharply and with such expansiveness.”

Ballet: Fancy Free by Jerome Robbins
Year: 2018

“I loved this ballet. It’s so cheeky and fun to dance. I really felt like the audience was engaged and enjoying it as much as we were.”

Ballet: Swan Lake by Susan Jaffe (2022)
Role: Prince Siegfried
Year: 2022

“I think this makes the list because it was such a challenge. Siegfried’s involvement physically and emotionally throughout the whole ballet was draining, but very rewarding.”

Ballet: Westside Story Suite by Jerome Robbins
Role: Riff
Year: 2018

“Singing and talking onstage was so unfamiliar but I really got into the role. It’s such an iconic piece and I’m really proud to have been a part of it. It’s always fun to die onstage too!”

Ballet: Lascia la Spina by Sasha Janes
Year: 2021

“Lascia is a pas de deux my wife and I performed during the pandemic. It was very challenging partnering-wise but equally beautiful. We really relished dancing it together!”

Ballet: Giselle By Jean Coralli and Jules Perrot
Role: Hilarion
Year: 2019

“Hilarion is a great role because he is a complicated character who is neither good nor bad. He’s just mostly misunderstood, which is what makes him so fun to portray!”

Ballet: Le Corsaire by Marius Petipa
Role: Birbanto
Year: 2016

“I’ve been lucky in my career to play lots of great villains (in my opinion the much better role), and none more so than Birbanto. A great solo with lots of drama and deceit, ending in yet another stage death.”

Photos courtesy of Pittsburgh Ballet Theatre

Yoshiaki Nakano’s Favorite PBT Memories

Posted on May 1, 2024 by Machaela Erdeljac

After serving as an artist at Pittsburgh Ballet Theatre for more than 14 years, Principal artist Yoshiaki Nakano will retire on May 19, 2024. Nakano has won numerous dance awards and was named one of Dance Magazine’s top “25 Dancers to Watch.” in 2014.
In addition to dancing, Nakano has choreographed over 50 works, including pieces for PBT, Point Park University and multiple schools and companies in Japan. He was named a PBT Choreographer-in-Residence in 2023. Below, he reminisces about some of his career highlights and favorite roles throughout the years.

Ballet: Romeo & Juliet by Derek Deane
Roles: Romeo and Mercutio
Year: 2017
“Performing Romeo and Mercutio back-to-back was challenging, but I learned so much about being a human on stage instead of acting.”

Ballet: Giselle By Jean Coralli and Jules Perrot
Roles: Albrecht
Year: 2016, 2019

“This is one of my favorite ballets! The music, the story – sad, yet beautiful. The Pas de Deux was a treat to dance!”

Ballet: Swan Lake by Marius Petipa (2014, 2018) and by Susan Jaffe (2022)

Roles: Prince Siegfried
Year: 2014, 2018, 2022

“This was my first full-length principal role back in 2014. I had the opportunity to recreate this role with Susan Jaffe for her Swan Lake in 2022, I loved every moment working with her for this production.”

Ballet: Don Quixote
Roles: Basilio
Year: 2014

“This role was technical, but it was so much fun! I love the music and the fun story! I loved being goofy and cool at some time! I wish I could dance it again!”

Ballet: Le Corsaire By Marius Petipa
Roles: Conrad and Ali
Year: 2016
“Ann-Marie-Homes taught the choreography for Le Corsaire and working with her was so amazing! These roles had such powerful movement and acting that it gave me chills!”

Ballet: Le Bayadère By Marius Petipa
Roles: Solor and Bronze Idol
Year: 2015

“This was my first full-length ballet after my injury. I remembered working so hard to get back in shape, but it was such a fulfilling moment!”

Ballet: Fireside Nutcracker by Terrence S. Orr
Roles: Sugar Plum Cavalier
Year: 2020

“During the COVID-19 Pandemic we filmed Fireside Nutcracker and was able to work with my dear wife as my partner. It was an amazing experience!”

Ballet: In the Middle, Somewhat Elevated By William Forsythe
Year: 2015

“A masterpiece from William Forsythe. This is one of my dream roles. The striking movement and learning irregular partnering was so memorable and I definitely changed my perspective and how to dance.”

Ballet: In the Upper Room by Twyla Tharp
Year: 2013

“This is such a legendary piece from Twyla Tharp. It incorporates Philip Glass’s music with such physical movement. I will never forget how it was!”

Ballet: All of George Balanchine’s Works
Performance/Year: Agon, 2011
Prodigal Son, 2011
Western Symphony, 2015
Divertimento No 15, 2018
Rubies, 2019
Theme and Variation, 2023
Allegro Brilliante, 2024

“All of George Balanchine’s works taught me to be a better dancer. Agon, Prodigal Son, Rubies, Western Symphony, Allegro Brilliante, Divertmento No 15, Theme and Variation – everything I learned from his work definitely influenced who I am today!”

Photos courtesy of Pittsburgh Ballet Theatre

Danielle Downey’s Favorite PBT Moments

Posted on May 1, 2024 by Machaela Erdeljac

After serving as an artist at Pittsburgh Ballet Theatre for more than 17 years, Danielle Downey, a Corps de Ballet member, will retire on May 18, 2024. During her tenure with PBT, she has showcased her talent in more than 50 productions. After her retirement, Danielle and her husband will be running Ridgemeade Farm, a regenerative farm in Farview, PA . The farm will have vegetables, pasture-raised animals, a distillery and Downey’s specialty of growing cut flowers for flower subscriptions, florists and weddings/events. Here, she reflects on some of her career highlights and favorite roles throughout the years.

Ballet: The Nutcracker by Terrence S. Orr
Roles: Multiple, including Sugar Plum Fairy, Snow Queen and Arabian (Elegance)
Year: Annually
“This ballet holds a special place in my heart because I’ve performed it every single year since I was a little girl. From a baby mouse, toy soldier, and party girl, to every female dancing corps de ballet role, and even principal roles like “Sugar Plum” and “Snow Queen.” My favorite of which is commonly known as “The Arabian,” now known as “Elegance” at PBT.
It’s the ballet I think I’ll miss performing the most, especially at Christmastime. I very much look forward to continuing the annual tradition, this time as an audience member with my two young daughters by my side.”

Ballet: Swan Lake by Terrence S. Orr (2010, 2014, 2018) and Susan Jaffe (2022)
Role: Big Swan
Year: 2010, 2014, 2018, 2022
“Swan Lake is my favorite full-length classical ballet. I’ve had the opportunity to revisit this work five different times throughout my career and to perform it on tour in St. Louis in 2006 while I was still a Grad Student.
It is a long, difficult, and demanding ballet, and certainly puts a toll on the dancer’s body, but I find it incredibly fulfilling. I find myself getting lost in the music and all of the aches and pains melt away. ‘Big Swans’ is a favorite role of mine and the very end of the ballet in Terrence S. Orr’s version with the orchestra led by Charles Barker is my absolute favorite moment on stage.”

Ballet: La Bayadère by Marius Petipa
Role: Third Shade Variation
Year: 2015
“I danced the “Kingdom of the Shades” scene as part of the PBT School Grad Program performance, and then had the opportunity to do the full ballet on the vast Benedum stage.
I’m not at all afraid of heights, but there’s nothing quite like doing all of those arabesques winding down a tall, rickety ramp in a tutu where you can’t see your feet beneath you. After that, performing the adagio was an empowering and favorite moment with my fellow corps de ballet ladies – all of in perfect unison.
During the COVID lockdown, we had the opportunity to recreate that scene virtually, and that had its own set of unique challenges — including dancing in the grass of my backyard on a very blustery day, trying to dance in sync with the rest of the girls (and PBT Music Director) Yoland Colin who played the piece of music) when we weren’t together, and not seeing the final product until it was edited to look like the Zoom grid. I’ll always look back on that video and feel proud of what we were able to accomplish under trying circumstances.”

Ballet: Rubies by George Balanchine © The George Balanchine Trust
Role: Tall Girl
Year: 2019

“Being the tallest girl in the corps has had its challenges, so I was thrilled to have the opportunity to perform the ‘tall girl’ role in George Balanchine’s wonderful work Rubies.”

Ballet: Le Corsaire by Marius Petipa
Role: Odalisques
Year: 2016
“Performing a production as big as Le Corsaire felt like a dream for a company the size of PBT, but we pulled it off and it will always be a highly memorable performance. Working with Anna Marie Holmes, who set this production, for several weeks was challenging yet rewarding. She is an inspiring coach who pushed us all to a higher level. She worked with me personally on a fast, jumping variation, which is not among my strengths nor a part I would typically be cast in. By the time the shows came, however, I felt prepared, stronger than ever, and ready to do it!”

Ballet: Petite Mort by Jiří Kylián
Year: 2015, 2018
“Kylian’s Petite Mort is my favorite contemporary ballet. I love the music, the themes, and the partnering. I also enjoyed revisiting it a few years later for a donor performance in Palm Beach.”

Ballet: Western Symphony by George Balanchine ©The George Balanchine Trust
Role: Principal
Year: 2015

“This is a Balanchine ballet that I had so much fun performing onstage. I love the traditional American theme and music and was honored to dance the lead girl in the second movement. I enjoyed working with Bart Cook who set the ballet, and even got some coaching by former PBT Artistic Director, the late Patricia Wilde.”

Ballet: Step Touch by Dwight Rhoden
Year: 2009

Step Touch is the first Dwight Rhoden piece I ever danced. His choreographic process is a challenge for the way I think, but once you get it into your body, it feels natural and fun. We went on to perform that ballet many times over the years throughout Pittsburgh, in Hilton Head, and even on tour in Israel.”

Ballet: Maelstrom by Mark Morris
Year: 2012

“Maelstrom is a beautiful contemporary ballet with elegant, slow partnering work (thanks to my longtime partner Cooper Verona) in the second movement, followed by the joyful and playful ensemble dancing in the third movement. This is another piece that made it all the way to Israel.”

Ballet: Theme and Variations by George Balanchine ⓒ The George Balanchine Trust
Year: 2007, 2023

“This ballet holds a special place in my heart because it always seemed to mark major milestones in my career.
As a student, it was during this show that I learned I would be hired into the company. A few months later it was the very first ballet I danced as a professional dancer when we toured to Wolf Trap in 2007. Finally, it was the very last ballet I danced in — I was 4 months pregnant in that performance and then went onto maternity leave with my second baby.”

Photos courtesy of Pittsburgh Ballet Theatre

Celebrate World Tutu Day with PBT

Posted on February 2, 2024 by Machaela Erdeljac

When you picture a Ballerina in your head, is she wearing a tutu?

The tutu has become a classic staple in Ballet costuming. Each ballet has its own style, resulting in an array of tutu looks. Join us as we look back on some of the stunning tutus our resident costumers have designed.
You may be familiar with the tutu look, but did you know there are multiple types of tutu?

Tutus can be grouped into two categories: Romantic and Classical.

Romantic Tutu
The romantic was the original tutu, making its first appearance in 1832 at the Paris Opera. Worn by Marie Taglioni in La Sylphide, the length of the skirt showcased her on-pointe footwork and the delicate fabric accentuated her elegant movement.

These tutus have 3-5 long gathered layers of tulle, coming down to anywhere between the knee and the ribbon line (ankle). Sometimes shorter romantic tutus are called Degas tutus, referring to Degas’ many paintings of ballerinas and “Little Dancer Aged Fourteen” sculpture in the late 1800s.

Classical Tutu
The classical tutu is likely what first comes to mind when picturing a ballerina. Becoming popular in the late 1800s, classical tutus are shorter and stiffer than romantic tutus. With layers of pleated tulle and some net for rigidity, the shape of the classical tutu is ideal to show off the elegant leg movements of a ballet dancer.

There are four styles of the Classical Tutu: the Pancake, the Platter, the Bell, and the Powder Puff/American/Balanchine.

Pancake Tutu– The pancake style is quite stiff and sits at hip level, often with a steel hoop woven through the tulle to help maintain shape.

Platter Tutu– The platter is similar to a pancake but often has a decorative overskirt. The platter sits closer to waist level and also often has a hoop.

Bell Tutu– The bell style is short and curved down like a bell. To achieve that shape, costumers use pleated tulle tacked in a more relaxed form with no hoop.

Powder Puff/American/Balanchine Tutu– With many names, this style has softer layers of pleated tulle loosely tacked together for more fullness. With a soft, full, relaxed form, this style doesn’t use a hoop.

Rehearsal Tutu– Made of layered, pleated tulle, these tutus are made without adornment just for rehearsals. Studios often use pancake rehearsal tutus.

Photography: Rosalie O’Connor, Rich Sofranko, Aviana Adams, Michael Henninger, Duane Rieder

Celebrating Black History Month with Adam W. McKinney

Posted on February 1, 2024 by Machaela Erdeljac

In honor of Black History Month, we are excited to present some deeper insight into our artistic director, Adam W. McKinney. We hope you enjoy learning more about him, his accomplishments and a bit more about him as a person, an artist and a leader.

About Adam W. McKinney

Adam W. McKinney began his role as Pittsburgh Ballet Theatre’s artistic director in March 2023. He brought with him a diverse and accomplished background in arts leadership across the globe, having served as an arts organization director, tenured professor, choreographer, dancer, educator and activist.
Adam loves his new home city of Pittsburgh and is excited to build on PBT’s long history of excellence here by making ballet accessible to all people, bringing in new works and choreographers, presenting family-friendly productions and working in and with local communities to ensure that they know that they belong in ballet and at PBT.
He is eager to continue to build a culture that focuses on inclusivity and opportunity and reflects the diversity of the Pittsburgh region. Adam is working to create more opportunities for the Pittsburgh community to engage with PBT, including education programs in schools, furnishing accessibility programming and providing health & wellness classes for members of the Pittsburgh area.

What is your favorite ballet?
Oh, my. There are so many! Balanchine’s Allegro Brillante is top of mind. I danced Allegro at Milwaukee Ballet. Mr. Balanchine said about the work that it is “everything I know about classical ballet in thirteen minutes.” I look forward to Zippora Karz’s arrival in March when she will stage it for PBT. Also, William Forsythe’s Blake Works, a work that I hope to bring to PBT in future years, is electric, riveting, wondrous and profound — a tour de force!

What do you like to do in your spare time?
With what spare time I have, I spend my early mornings on my Peloton. I also enjoy cooking, traveling, writing, being outdoors and spending time with family. Also, I am an avid bath taker.

What is your favorite part of being an Artistic Director?

Every day is different, and I get to utilize my brain to solve and collaborate on small and large problems. I feel as though all areas of expertise are represented in my responsibilities as artistic director. It’s an absolute joy!

What makes you laugh?
People make me laugh. We are amazingly infinite in our possibilities. People bring me joy, and make me excited.

What is your proudest moment?
About 20 years ago, I had the honor and pleasure of being present during the birth of my nephew. I was with my sister and her husband, my parents and my brother-in-law’s mother. It was a proud, extraordinary experience that I will never forget.

If I weren’t a ballet dancer, I would be…
Either a doctor or data analyst

When did you know you wanted to pursue a professional career in ballet?
It had to be my first ballet class when I already knew how to tours enchaînement and saut de chat. I was hooked!

Who is your inspiration – in dance and in life?
My family, my husband, nature, people, words and poetry, ideas, food, places, exercise, practice, language, visual art and sculpture…