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Summer Recap
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!
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.
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.
Photos: Anita Buzzy Prentiss & Aviana Adams
Ballet Under the Stars Casting Announced
The casting for Pittsburgh Ballet Theatre’s annual Ballet Under the Stars performance at Hartwood Acres has been announced! PBT will be performing at Hartwood Acres on Sunday, August 25 at 7:30 p.m. as part of Allegheny County’s 2024 Summer Concert Series. The outdoor performance is free to attend and open to the community. Register for free before attending for a chance to win a 5-ballet subscription to the 2024-2025 season.
Attendees are invited to arrive early to enjoy picnics, food trucks and free kids’ stations, including grab-and-go crafts, face painting, balloon art and a dance class led by PBT team members.
From 5:30 to 7:30 p.m., PBT will host a pre-show Picnic in the Park. Join fellow ballet enthusiasts and PBT’s artistic director, Adam W. McKinney under the tent for drinks, dinner and the opportunity to meet PBT artists. Tickets are $100 for adults and $25 for children. Register online or call Associate Director of Development Aziza El Feil at 412-454-9127 for more information.
As the sun sets, PBT will present a mixed repertory performance featuring classical and contemporary works.
“Ballet Under the Stars” at Hartwood Acres
Sunday, August 25, 2024 @ 7:30pm
Please note: casting is subject to change
Allegro Brillante | Choreography by George Balanchine | © The George Balanchine Trust
– Leads: Tommie Lin Kesten and Colin McCaslin
– Artists: Erin Casale, Rylan Doty, Madeline Gradle, Abigail Huang, Caitlyn Mendicino, Jacob Miller, David O’Matz and Nathan Smith
Violin Pas de Deux | Choreography by Yoshiaki Nakano
– Artists: Grace Rookstool and Corey Bourbonniere
The Wizard of Oz Excerpt | Choreography by Adam W. McKinney
– Dorothy: Amanda Morgan
– The Wicked Witch: Madeline Gradle
The Nutcracker Suite | Choreography by Terrence S. Orr and PBT’s Artistic Team
“Jubilation”
– Artists: Magnoly Batista, Sam DerGregorian, Matthew Griffin, Abigail Huang, Jacob Miller and Madison Russo
“Exuberance”
– Artists: Emry Amoky, Rylan Doty and Nathan Smith
“Sugar Plum Fairy Pas de Deux ”
– Artists: Marisa Grywalski and Jack Hawn
“Elegance”
– Artists: Diana Yohe and David O’Matz
The Rite of Spring Excerpt | Choreography by William Moore
– Artists: Ariana Chernyshev and Emry Amoky
Peter Pan Excerpt | Choreography by Adam W. McKinney and Raymond Rodriguez
– Peter Pan: Jonathan Breight
– Captain Hook: Jack Hawn
– Tinkerbell: Grace Rookstool
Cinderella Pas de Deux | Choreography by Jayne Smeulders
– Artists: Hannah Carter and Lucius Kirst
Bolero | Choreography by Susan Jaffe
– Soloists: Grace Rookstool and Kurtis Sprowls
– Artists: Jonathan Breight, Erin Casale, Sam DerGregorian, Christian García Campos, Matthew Griffin, Marisa Grywalski, Jack Hawn, Josiah Kauffman, Caitlyn Mendicino, Jacob Miller, Amanda Morgan and Diana Yohe
Photos: Aviana Adams and Michael Henninger
Dyeing Pointe Shoes
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
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
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
Meet Incoming Director of Education and Community Engagement April Berry
Pittsburgh Ballet Theatre (PBT) has named April Berry as the organization’s new Director of Education and Community Engagement, beginning July 1, 2024. She joins PBT from Kansas City Ballet, where she most recently served as their Director of Community Engagement & Education. April Berry is a dance director, master teacher, educator, choreographer and former internationally acclaimed dancer with Alvin Ailey American Dance Theater. April has been actively involved in the field of dance education and community engagement arts outreach for more than 30 years. She has created award‐winning community programs as Director of Community Engagement and Education for Kansas City Ballet, as Director of Education and Community Outreach for North Carolina Dance Theatre (now Charlotte Ballet) and as Director of Education and Community Programs at BalletMet Columbus in Ohio. April answered a few questions for Pittsburgh audiences to get acquainted with her.
What is your favorite part of being involved with a ballet company?
My favorite part of being involved with a professional ballet company is working in a
creative, collaborative environment alongside people dedicated to providing programs
and experiences that are inspiring and transformative.
What is your proudest moment as an education director?
My proudest moments as an education director have been when programs I have
created led to greater awareness and access and open pathways that positively
impacted the community and the ballet.
What are you most excited to do in Pittsburgh?
Professionally I am looking forward to meeting new people and opening new avenues
through education programs and partnerships for more people to engage with the ballet.
Personally, I am excited to visit the many wonderful museums and parks and explore
the many neighborhoods in and around Pittsburgh.
What is your guilty pleasure?
Chocolate!
What do you like to do in your spare time?
Shoe shop, read and watch movies.
Where is your favorite vacation spot?
The Hamptons
If you could meet anyone in the world today, who would you meet?
Vice President Kamala Harris
What was the last song you had stuck in your head?
Happy by Pharrell Williams
William Moore’s Favorite PBT Moments
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
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
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
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
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…
PBT Soloist Gabrielle Thurlow Shares Her Ballet Memories on the Eve of Her Retirement
Pittsburgh Ballet Theatre Soloist, Gabrielle Thurlow, will retire on December 23, 2023 after being with PBT for more than 17 years. She has performed in numerous ballets over the years and took a few minutes to share her recollections about some of her favorite and most memorable ones. Her final performance will be on December 23 at the 2:00 show of The Nutcracker.
Ballet: Don Quixote by Marius Petipa
Role: Kitri
Year: 2014
“My most memorable performance was probably Kitri in Don Quixote. It was my first really big role, and one I had always wanted to perform. I had a blast on stage, and will always remember that thrill!”
Ballet: In the Upper Room by Twyla Tharp
Role: Bomb Squad
Year: 2013
“I was a “Bomb Squad” dancer, and had to move incredibly fast and in sync with my other “bomber”. It was super challenging to make this happen, but was exhilarating! ”
Ballet: La Bayadere by Marius Petipa
Role: Gamzatti
Year: 2015
“This one was very dramatic, and I got to experience a really intense and powerful scene that gave me chills. It was fun to have an acting challenge with this role, which was something new to work on for me.”
Ballet: Petite Mort by Jiri Kylian
Year: 2018
“The musicality is genius! It is such a beautiful ballet, and always makes me cry. I loved performing this one.”
Ballet: In the Middle, Somewhat Elevated by William Forsythe
Year: 2015
“This one tested my boundaries, and I felt very accomplished by the end. I also got to perform with my husband, William Moore (who wasn’t yet my husband at the time), which was such an amazing experience.”
Ballet: The Sleeping Beauty by Marius Petipa
Role: Aurora
Year: 2014
“So much technique and control is required for this role, and I think I was the most nervous I have ever been for it! But it was an honor to perform, and quite rewarding.”
Ballet: Western Symphony by George Balanchine
Year: 2015
“I love the music for this one, and enjoyed the challenge of “the ballerina”. It was so much fun on stage!”
Ballet: Lascia La Spina by Sasha Janes
Year: 2021
“Another one I was lucky enough to perform with my husband. This one leaves me with special memories because it was something we shared together during Covid. We got to record it as well, which is definitely different than a live performance!”
Ballet: Petal by Helen Pickett
Year: 2021
“This one was another that took me out of my comfort zone. I had to face my fears and improv on stage. It took some growing into, but by the end, I truly enjoyed it and learned a lot through it.”
Photos Courtesy of: Pittsburgh Ballet Theatre Rich Sofranko, Aimee DiAndrea and Rosalie O’Connor
Joseph Parr’s Favorite PBT Moments
After more than 15 years in Pittsburgh Ballet Theatre’s Corps de Ballet, Joseph Parr will retire on December 28, 2023. He has performed in more than 50 works with PBT. After his retirement, he plans to finish his degree to become a physical therapy assistant. Below, he has reflected on some of his career highlights and favorite roles over the years.
Ballet: Moulin Rouge: The Ballet by Jorden Morris
Role: Henri de Toulouse-Lautrec
Year: 2013
“This ballet was very fulfilling as there were several sections where I could explore the character in a variety of different ways. In one scene I was painting on stage, another I was consoling a friend, another I was hallucinating. I really enjoyed being lost in this character!”
Ballet: Coppelia by Terrence S. Orr
Role: Dr. Coppelius
Year: 2012
“In this role, I worked closely with the late Stephen Hadala. He was so generous, supportive, encouraging and patient with helping me learn Dr. Coppelius. Since I shared the part with him, each day was like a master class in character acting. I looked up to him as the best actor I’ve ever worked with, as well as being one of the most special people I’ve had the pleasure of knowing.”
Ballet: Romeo and Juliette by Jean-Christophe Maillot and Romeo and Juliet by Derek Deane
Role: Benvolio
Years: 2009, 2017
“Benvolio was the first big role I got to do with PBT. Both versions were challenging physically and allowed me different ways to explore the acting side of ballet. I was honored to portray this character in both versions which were very different from each other and about ten years apart.”
Ballet: Dracula by Ben Stevenson (twice) and Michael Pink
Role: Renfield
Years: 2011, 2017, 2023
“I have always enjoyed character roles and Stevenson’s version provided me with the opportunity to really go crazy with tricks and be a wild and crazy bug-eating man. Pink’s version was very different and required much more thought and sensitivity in preparing for the role. It was one of the few roles where I really put myself in a dark place in order to do the role justice.”
Ballet: Man in Black by James Kudelka
Year: 2016
”Every single rehearsal, run-through and performance were such a joy to be a part of. The four dancers in this piece needed to be extremely connected and we never left the stage from start to finish, a truly unique experience.”
Ballet: In the Upper Room by Twyla Tharp
Years: 2010, 2013
“This was one of the most physically demanding works I’ve done, but also one of the most rewarding. One of my favorite things about this piece is it really brought everyone closer together. Because it took so much out of you, everyone was rooting for each other while we were all giving it everything we had!”
Ballet: A Streetcar Named Desire by John Neumeier
Role: The Singing Soldier
Year: 2012
“Streetcar was a unique experience. I began the ballet under a bed onstage, did a small bit of dancing and wheeled the bed over to the side of the stage where I stayed for the rest of the act. I periodically sang, whistled and talked for the rest of Act 1 – not a typical day at the office!”
Ballet: Swan Lake by Terrence S. Orr
Role: Jester
Year: 2014
“The first Swan Lake I performed at PBT. I was in the school and I thought the Jester looked like so much fun to do. It had opportunities for great dancing as well as the freedom to be goofy. I was lucky enough to get to do this a few times and you better believe I took every opportunity to be a goof in this role. It was a blast!”
Ballet: Cinderella by Septime Webre
Role: Stepsister
Years: 2009, 2013
“This was a comedic role I got to perform first with Alejandro Diaz and the second time around with Stephen Hadala. Each rehearsal and show was filled with plenty of laughs and it was a privilege to embrace this role with those two people.”
Ballet: In the Night by Jerome Robbins
Year: 2018
“When we were learning this I was 4th or 5th cast and not scheduled to do it, but my partner and I rehearsed it and knew it really well. An injury happened to Alexa Kochis’s partner and she requested me to step in for the show. It was a really beautiful pas de deux and she’s such a wonderful partner to dance with.”
Ballet: West Side Story Suite by Jerome Robbins
Role: Riff
Year: 2018
“This was the second time I got to sing on stage and it required all dancers with singing roles to have voice lessons! I also have always wanted to die on stage and I was able to cross that off my bucket list with this one (although dying on stage is not as fun as I thought it would be, haha).”
Ballet: Light: The Holocaust/Humanity Project by Stephen Mills
Year: 2009
“This was a very emotional, dramatic and beautiful piece. I was honored to be a part of this process and will always remember this tribute to that terrible time in our history.”
Ballet: Step Touch by Dwight Rhoden
Year: 2009
“I’ve done multiple parts of this ballet in many places, including Israel! One silly memory I have about this ballet is that I got pretty good at mimicking the opening song by singing a drawn-out “Well” that fooled a couple of my coworkers on multiple occasions that we were starting the ballet before the repetiteurs pressed play on the music.”
Ballet: The Nutcracker by Terrence S. Orr
Role: Nephew/The Nutcracker
Years: Multiple!
“This role was my dream ever since I first saw it as a grad student. I’m very proud that I’ve done nearly every role in Nutcracker and that I am able to retire as the Nephew with my wife Diana (Yohe). It was also an incredible experience to play this role when we filmed Fireside Nutcracker during Covid times.”
All photos courtesy of Pittsburgh Ballet Theatre, Rich Sofranko, Rosalie O’Connor, Aviana Adams, Anita Buzzy Prentiss and Aimee DiAndrea
Celebrate National Coming Out Day with PBT!
At Pittsburgh Ballet Theatre, we are committed to increasing equity, diversity and opportunity in the art of ballet. We believe that by bringing together people with diverse perspectives, histories and life experiences, we can create more vibrant experiences for everyone.
As part of this, PBT is proud to support National Coming Out Day on October 11th. This is the 25th year that this important day has been celebrated in the U.S. This annual LGBTQ awareness day celebrates people acknowledging – both publicly and privately – their authentic selves and embracing who they are. As part of National Coming Out Day, three PBT artists/staff members are sharing their coming out stories in hopes of inspiring others.
Kurtis Sprowls
Can you share your coming-out story with us?
I knew I was gay from a very young age. I struggled to really accept my authentic self, and live up to the expectations of my hometown environment. In my late teens, I moved to Pittsburgh and I was able to find community and acceptance in myself. I started to come out little by little and was met with many different reactions. Looking back at this time in my life, I am grateful for the people who have always shown me unconditional love, and for the patience I granted people who needed time to process. I believe my coming out stands as a testament to that it does get better.
Where have you discovered a supportive and inclusive community?
I have had the great fortune to discover many supportive and inclusive communities since coming out. I have found a core group of queer friends who love and support me, and make up my chosen family. I have also found support and community at Pittsburgh Ballet Theatre. At PBT, everyone can be themselves and showcase what is unique and special about who they are. Through the support that PBT offers, everyone can confidently grow and flourish.
What advice do you have for individuals struggling to come out?
My advice to someone who is struggling to come out is to trust your gut, take your time, and practice patience. There is no rush to come out, so take your time and space to really get to know your authentic self. Cultivating patience with yourself and others will not only bring you peace but will help strengthen the bonds and relationships you value. Coming out looks different for everyone, but you will never regret living authentically as your whole self. Always remember that you deserve love, acceptance, and respect just as much as anyone else.
As a member of the LGBTQ+ community, who or what inspires you?
As a member of the LGBTQ+ community, I am inspired by the generations of queer folks who came before me. I am incredibly lucky to have the life I have today because of their bravery and visibility.
Lish Reece
Can you share your coming-out story with us?
I really don’t have some grandiose movie story to share – it sort of just happened. I do want to say that I am blessed to have a loving and supportive family because I know that is not always the case.
Where have you discovered a supportive and inclusive community?
I have definitely discovered a supportive and inclusive community in the arts. I believe so many LGBTQ+ people are drawn to the arts even before they realize that they may be wondering about how they identify. The creative nature of our arts communities tends to value self expression. We are in the business of portraying others thoughts and feelings and words which hopefully creates a brave space for exploration. This environment also lends itself to further understanding of humans as a whole and the realization that we are all so different and wonderful and also so alike!
What advice do you have for individuals struggling to come out?
The biggest advice I have is to not feel pressured to come out, it is something that is deeply personal. Everyone’s experiences and situations are unique. Was coming out freeing to me? Absolutely it was. Yet you need to do what is right and safe for you. I believe the most important step is learning to love and appreciate yourself first because you are valid!
I grew up in a very small conservative town and I absolutely understand the difficulties that presents. I had already moved away when I finally acknowledged that being a part of the queer community was my truth. Thankfully the understanding and appreciation of people who identify as LGBTQ+ in those pockets of rural America are finally starting to progress.
If/when you decide to come out – just know that it is a continual process. I still find myself coming out to people that I haven’t met or haven’t seen since high school. Has it gotten easier and easier over the years? Completely yes. This is because I have become more and more comfortable with myself and also, thankfully, the world is evolving. It also certainly helps that I can just post a picture of myself and my partner to social media and I have “come out” just by living my life. My hope is someday “coming out” won’t even be a thing. We will all just be.
As a member of the LGBTQ+ community, who or what inspires you?
I know I have worked in the arts for the majority of my life, but I actually draw quite a bit of inspiration from LGBTQ+ athletes. Professional athletes have such a visible platform and many LGBTQ+ people have used that stage to inspire and educate the world. Even the uptick of LGBTQ+ commercials during certain sports broadcasts has increased as of late. That representation can have a profound effect on someone whose circumstances may not allow them to see LGBTQ+ people on a daily basis.
Matthew Griffin
Can you share your coming-out story with us?
I knew I was gay for a long time; but never thought I would come out. When I graduated high school and went to college, I realized a lot of the pressure I was feeling about coming out, I was putting on myself. So in college, where I knew I had a safe group of friends, and decided to just go for it and be my authentic self. Nobody batted an eye, so I brought my authentic self home with me on my first break. My family and hometown friends were unfaltering with their love and support.
Where have you discovered a supportive and inclusive community?
I’ve found a supportive community in my friends and my family. I’ve also found a supportive community in the arts. I am grateful to be able to work at PBT where I can bring my full self to work everyday.
What advice do you have for individuals struggling to come out?
Everyone’s journey is different. Give yourself the time you need and give yourself grace. Just know that there are people out there who love you and accept you for who you are.
As a member of the LGBTQ+ community, who or what inspires you?
Inspiration is everywhere for me. Music, books, concerts, shows, movies, television, and the culture are all things that inspire and inform me. I’m inspired by fearlessness and authenticity. I’m inspired by the generations of queer people before me who paved the way for us to live our lives so freely today.