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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.
Open Air at Hazelwood Green Casting Announced

Pittsburgh Ballet Theatre’s Open Air performance at Hazelwood Green will be happening on Friday, September 29 and Saturday, September 30 at 7:30 p.m. The outdoor performance is free to attend and open to the community.
Casting has been announced!
In addition to PBT performances, the family-friendly event will include performances by other musical and dance artists, as well as art vendors, demonstrations, kids activities and food trucks all weekend. PBT will also hold barre classes for adults and creative movement classes for kids. Additionally, Saturday is August Wilson Community Day and will include free activities from numerous local museums and arts organizations. Open Air will run on Friday, Sept. 29 from 6:00-9:30 pm, Saturday, Sept. 30 from 11:00 am – 9:00 pm and Sunday, Oct. 1 from 11:00 am – 5:00 pm. See the full schedule here.
Hear From the Company and School Accompanists

Ballet and classical music are intrinsically linked. Most beloved classical ballets from Tchaikovsky’s The Nutcracker and Swan Lake to Prokofiev’s Romeo and Juliet and Stravinsky’s The Firebird have sweeping musical scores that not only accentuate the dancing but help to express character’s feelings. Most classical ballet scores, also stand on their own as music compositions even without the ballet.
Many ballet theaters – including PBT – are fortunate enough to have pianists who play live music for classes and rehearsals. In honor of Classical Music Month, we want to highlight PBT’s accompanists and how they feel live music impacts rehearsals. We’ll also show an inside look at their favorite pieces to play in the studio.
1. How do you believe live music impacts studio rehearsals?
Live music in the studios allows for in-the-moment artistic collaboration among dancers, teacher and musician. The musician responds immediately to the movement, the dancers react in turn to the dynamics of the music. Ideally, we are a healthy living organism, breathing and moving together; ideally, the musician is inspiring both teachers and dancers to create their best work in the moment, to improve each day as a technician and an artist.
I’m so glad Pittsburgh Ballet Theatre School is committed to live music in the studios for all its students. I feel so fortunate to have been a part of this project for so many decades.
2. What is one of your most favorite pieces to play in the studio?
I’m afraid I have too many favorite pieces to mention. There is a great thrill, at any moment, in matching a piece perfectly to the dance, no matter what the music. Even so, some things I love are: the slow movement of Shostakovich’s Piano Concerto No. 2 (see Kenneth MacMillan’s Pas de Deux). It requires very slow moving choreography, so I don’t get to play it very often. I still love Kingdom of the Shades from La Bayadere and a few slow and evocative piano works of Bach and Mozart. I still enjoy playing the very sweet Minuet from Gluck’s Orfeo, Faure’s Sicillienne (from Jewels), and some selections from Copland’s Rodeo, including Saturday Night Waltz.
Juliet Winovich
1. How do you believe live music impacts studio rehearsals?
In an interactive dynamic environment like a ballet studio work,
Live music is, the spatial medium that unifies the group action. The quality of rhythm alone,
Is as powerful as turning on the light in a dark room.
Not only is live music a source of motivation and inspiration, it is also a tool that responds
quickly, adjusting as needed, to facilitate emergence.
2. What is one of your most favorite pieces to play in the studio?
It depends on the work being done at that moment.
Sun Chang:
1. How do you believe live music impacts studio rehearsals?
I believe it creates a sense of community and a feeling of support between the pianist, dancers, and the instructor. It also makes it feel very much like a living art form, and it feels creative!
2. What is one of your most favorite pieces to play in the studio?
I love playing the Rose Adagio from sleeping beauty by Tchaikovsky!
Maja Petrovic:
1. How do you believe live music impacts studio rehearsals?
Playing for dance classes and rehearsals is such a creative process, that process changes and affects the energy, the mood, and the dynamic of one’s dancing.
From the very first note we play, we initiate this inspiring collaboration with the dancer, and together we create an artistic space where they can express all those qualities in a different way every time they hear a certain piece of music.
2. What is one of your favorite pieces to play in the studio?
Being a classically trained pianist myself, I tend to gravitate towards classical piano pieces that I can arrange in ballet format, and I also enjoy excerpts from ballets. Some good examples are the 2nd movements of Ravel’s piano concerto and Tchaikovsky’s Piano Concerto No. 1. From ballet repertoire, I enjoy playing La Source’s Romance, from Act 3, and scenes from Prokofiev’s Cinderella, and Romeo and Juliet.
Josh Malave:
1. How do you believe live music impacts studio rehearsals?
I believe live music in the classes creates a unity between everyone involved, we share in each other’s striving to make something that is real and which is good.
2. What is one of your favorite pieces to play in the studio?
One of my most favorite pieces to play is a waltz from the opera La fanciulla del West by Giacomo Puccini
Meet Barbara Bears | Incoming Rehearsal Director

Pittsburgh Ballet Theatre (PBT) has named Barbara Bears as the organization’s new rehearsal director. She will be taking over the role formerly held by Marianna Tcherkassky until her retirement in June. Bears was previously a dancer with the Houston Ballet for more than 20 years, including as a principal dancer for 15 of those years. After her retirement, she served as a teacher and coach for Houston Ballet, Houston Ballet 2, and the Ben Stevenson Academy before joining the professional company’s artistic staff as a ballet master in 2016. Barbara answered a few questions for us to help Pittsburgh audiences get acquainted with her.
What was the first ballet you ever danced in onstage?
The first ballet I danced as a professional was George Balanchine’s The Four Temperaments. It was my first year with Houston Ballet and the first rep of the
season. I was an understudy for the 3rd Theme, but due to a last-minute injury, danced the role opening night. I remember being so nervous and excited at the same time. It is definitely a special memory from my early career as a professional.
What are you most excited to do in Pittsburgh?
The Warhol Museum is a must! I also plan to carve out a day and see Frank Lloyd Wright’s Falling Water.
What is your guilty pleasure?
Sweets! I love anything with dark chocolate!
What do you like to do in your spare time?
Being a full-time assistant to my French Bulldog, Po. Kidding aside, I enjoy HIIT training, watching movies, baking, spending time with my family, and long walks with Po.
Where was your favorite vacation spot?
The Caribbean – I’ve been a certified scuba diver for over 30 years.
What’s the most memorable day you’ve ever had and why?
The birth of my son. Being a Mom is the greatest gift.
What was the last song you had stuck in your head?
Typically whatever ballet I happen to working on.
What are you most looking forward to this season at PBT?
Wow, way too many to list. I’m most excited about working with Adam and the artists of PBT. I’m so excited to be part of this new chapter in PBT’s history. I believe exciting times are ahead.
The Artistry of Marianna Tcherkassky


Pittsburgh Ballet Theatre’s long-time rehearsal director, Marianna Tcherkassky, has announced her retirement at the end of the 2022-2023 season. Tcherkassky has been a rehearsal director at PBT for 26 years. Prior to PBT, Tcherkassky danced with American Ballet Theatre for 26 years, 20 of which as a principal dancer.
“I have been so fortunate to enjoy two amazing careers, that as a Principal Dancer with American Ballet Theatre for over two decades, and a second one as a Rehearsal Director for Pittsburgh Ballet Theatre, with the opportunity to help curate and bring to life through our beautiful dancers a prodigious array of repertoire,” Tcherkassky said. “I am deeply honored to have learned from and collaborated with all of the incredibly talented and dedicated artists in all aspects of my profession.”
In the ballet world, few individuals leave as profound an impact as Marianna Tcherkassky, Rehearsal Director at Pittsburgh Ballet Theatre (PBT). Her expansive knowledge and expertise guide dancers to new heights, making her an irreplaceable asset. With her experience from her time as a Principal Dancer with American Ballet Theatre to becoming a Rehearsal Director in Pittsburgh, her contributions are invaluable not only to Pittsburgh Ballet Theatre, but the ballet community as a whole.

Marianna’s passion for dance blossomed at a young age. Raised in Maryland, she was surrounded by classical music, thanks to her mother, a professional dancer and her first teacher. Dancing became an outlet for her emotions and a way to create her own world.
At 14, Marianna earned a scholarship to George Balanchine’s School of American Ballet in New York City. This opportunity paved the way for her audition and subsequent acceptance into the esteemed American Ballet Theatre (ABT) at just 17 years old. It was at ABT that her career took a pivotal turn.

In 1980, shortly before a performance of Giselle, Gelsey Kirkland, the lead ballerina, was injured. With limited time to spare, Mikhail Baryshnikov turned and asked Marianna to take on the role. Leaving only five days to prepare, she rehearsed tirelessly with Baryshnikov and delivered a breathtaking performance that garnered critical acclaim.
Throughout her career, Marianna continued to refine her artistry and expand her repertoire. Her unwavering dedication and pursuit of excellence made her a true force in the dance world. Today, as Rehearsal Director, she imparts her wisdom to a new generation of company and school dancers -inspiring them with her grace and passion.

Marianna believes that great dancers must also be great actors, emphasizing the importance of conveying emotion and storytelling through movement while dancing.
Beyond the studio, she finds inspiration in nature, observing its intricate balance and drawing parallels to the dance of life. Her dedication to the art form is steadfast and she feels fortunate to exist in a world where creativity, productivity and positivity converge.
Marianna Tcherkassky’s contributions to ballet are immeasurable. Her expertise, passion and dedication continue to shape the future of dance, leaving an enduring legacy that will inspire generations to come.
After retiring, Tcherkassky says there are many new possibilities on the horizon to which she looks forward, including spending time in nature, bird watching, visiting family and friends across the country and spending time with her husband Terry at his vintage car groups and shows.
A celebration of Marianna Tcherkassky’s career at Pittsburgh Ball Theatre is being planned to occur during the company’s December 2023 production of The Nutcracker. The event date and details will be announced soon.
Meet Raymond Rodriguez | Dean of Pittsburgh Ballet Theatre School

Pittsburgh Ballet Theatre (PBT) has just named Raymond Rodriguez as the organization’s first Dean of Pittsburgh Ballet Theatre School, effective June 5, 2023. In this role, he will oversee the Children’s, Student and Pre-Professional divisions of PBT School. Rodriguez most recently served as the Academy Director of The Joffrey Ballet in Chicago. To better introduce him to Pittsburgh audiences, we sat down with him and asked him to answer a few questions about himself.
Get to Know Raymond
What was the first ballet you ever danced in onstage?
The first ballet I danced in on stage was La Sylphide. I was a student at American Ballet Theatre School. I was selected to perform a children’s role in the Company’s production at the Metropolitan Opera House at Lincoln Center in New York City, and my dance partner was no other than actress Sarah Jessica Parker.
What is your favorite part of overseeing a ballet school?
My favorite part of overseeing a ballet school is witnessing students grow and develop into skilled dancers and human beings. Dance is transformative. To see students learn self-confidence, self-discipline, and self-awareness and be creative individuals in this world is truly remarkable. Providing access and exposure can lead to life-changing opportunities.
What is your favorite ballet to watch?
My favorite ballet to watch is Romeo and Juliet, danced to the hauntingly beautiful Sergei Prokofiev score. It can be a profound emotional experience to witness the dancers’ storytelling combined with the lush musical score. The dancers need to execute technical expertise while simultaneously being storytellers, exhibiting vulnerability and acting nuances; dancers possessing both qualities lead to memorable performances for me.
What are you most excited to do in Pittsburgh?
I’m most excited to learn and explore the community and its diverse neighborhoods. In addition, I look forward to experiencing the city’s many cultural institutions.
What is your guilty pleasure?
I am pampering myself with a day at the spa with a deep-tissue massage.
What do you like to do in your spare time?
Spending a quiet day with my husband and fur baby is my guilty pleasure. In addition, I love to spend the day cooking and binge-watching the latest series on Netflix.
Where was your favorite vacation spot?
My favorite vacation spot, as of today, has been the Mexican beach resort of Puerto Vallarta. I’ve enjoyed discovering the local culture, diverse people, food, art galleries, vibrant nightlife of the iconic Malecon, and stunning sunsets.
If you could meet anyone in the world today, who would you meet?
I would love to meet actress, dancer, and singer Rita Moreno. The Puerto Rican star has been a trailblazer in the arts for seven decades, having won an Emmy, Grammy, Oscar, and Tony (EGOT) Awards, the Presidential Medal of Freedom, and many other accolades. She has been an inspiration to me and many other aspiring Latino performers.
What’s the food you usually refuse to share?
My mom’s arroz con gandules, pernil, and platano maduro.
What was the last song you had stuck in your head?
The Best by Tina Turner
Pittsburgh Ballet Theatre Announces Company Updates for the 2023-2024 Season

Artistic Director Adam W. McKinney has promoted three artists for Pittsburgh Ballet Theatre’s (PBT) upcoming season, which runs from October 2023 to May 2024.
After the closing performance of The Sleeping Beauty on May 21, McKinney surprised the three company artists by announcing their promotions onstage. Those promoted were:
- Tommie Lin O’Hanlon of Pittsburgh, PA to Principal artist
- Grace Rookstool of Whidbey Island, WA to Soloist artist
- Madeline Gradle of Falls Church, VA to the Corps de Ballet
Additionally, Pittsburgh Ballet Theatre is pleased to welcome four promising artists into the company for the 2023-2024 season. The new hires resulted from PBT company auditions in April that saw more than 800 applicants in New York, Pittsburgh and online auditions. PBT’s newest members include:
- Gustavo Ribeiro, Soloist artist, from Miami City Ballet
- Matthew Griffin, Corps de Ballet, from Cincinnati Ballet
- Emry Amoky, Apprentice artist, from Houston Ballet ll
- Nathan Smith, Apprentice artist, from Miami City Ballet School
“I am honored and excited to promote Tommie, Grace and Madeline. They are inspiring artists who have worked tirelessly and deserve every bit of their successes,” said Adam W. McKinney, Pittsburgh Ballet Theatre’s artistic director. “I am also thrilled to welcome Gustavo, Matthew, Emry and Nathan to PBT. They will make excellent additions to our artistic team, and I look forward to working closely with them.”
About PBT’s Newly Promoted Artists
Tommie Lin O’Hanlon has been promoted to Principal artist at Pittsburgh Ballet Theatre. Pittsburgh native Tommie Lin joined PBT in 2018 from the PBT School Graduate Program, and was promoted to Soloist artist in 2020. She trained with Miami City Ballet School and Ballet Academy of Pittsburgh, and completed summer intensives at the School of American Ballet and PBT School. She has performed in PBT productions of The Nutcracker and Swan Lake, and her repertoire also includes George Balanchine’s Walpurgisnacht, Valse Fantaisie, Western Symphony, Divertimento No. 15 and Tall Girl in Rubies, as well as Jerome Robbins’ Glass Pieces and Bluebird Pas de Deux in The Sleeping Beauty.
Grace Rookstool has been promoted to Soloist artist at Pittsburgh Ballet Theatre. Grace was born and raised on Whidbey Island, Washington, and began her classical ballet training at Pacific Northwest Ballet School in Seattle when she was eight years old. She completed the Professional Division Program and danced with Pacific Northwest Ballet in many productions, including The Nutcracker, Swan Lake, The Sleeping Beauty and A Midsummer Night’s Dream. Grace was selected for an exchange program with Dresden Semperoper Ballett where she performed as a guest apprentice in La Bayadère. She joined PBT as a member of the Corps de Ballet in 2019.
Madeline Gradle has been promoted to PBT’s Corps de Ballet. A native of Falls Church, Virginia, she joined Pittsburgh Ballet Theatre as an apprentice from the PBT School Graduate Program in 2021. Madeline received early dance training with Arlington Center for Dance and The Washington School of Ballet, and attended summer programs with American Ballet Theatre: New York, Pittsburgh Ballet Theatre and Exploring Ballet with Suzanne Farrell. Madeline danced as an apprentice with The Suzanne Farrell Ballet for four years, expanding her repertoire with George Balanchine’s Chaconne, Stars and Stripes, Tzigane and Walpurgisnacht, among others. She has performed with PBT in productions of George Balanchine’s Rubies, Giselle, The Sleeping Beauty and Terrence S. Orr’s The Nutcracker. Additionally, Madeline enjoys teaching in the PBT School’s Children Division and PBT Dance & Wellness.
About PBT’s New Hires
Gustavo Ribeiro has been hired as a Soloist artist at Pittsburgh Ballet Theatre. Gustavo was born in Vitoria, Brazil, and received full scholarships to Palucca Hochschule for Tanz Dresden- Germany, Joffrey Academy of Dance and Orlando Ballet School. Ribeiro was a soloist and former member of the Washington Ballet, Kansas City Ballet and most recently Miami City Ballet. Ribeiro is now a principal guest artist, teacher, choreographer and coach. He has performed in Brazil, Canada, Europe and across the USA. His repertoire includes featured roles in Petite Mort, The Nutcracker, Romeo and Juliet, The Sleeping Beauty, Don Quixote, Three Preludes, The Four Temperaments, Diamonds, Piano Concerto no.2, Theme and Variations, A Midsummer Night’s Dream, Dracula, among other works choreographed by George Balanchine, Jerome Robbins, Twyla Tharp, Val Caniparoli, Jiří Kylián and Stanton Welch. Ribeiro has also earned many awards for his excellence in choreography. He has choreographed for Kansas City Ballet, Orlando Ballet, among other companies and schools. He is also an American Ballet Theatre Curriculum and Progressing Ballet Technique certified instructor.
Matthew Griffin will be joining PBT’s Corps de Ballet for the 2023-24 season. Matthew began his ballet training in Sarasota, Florida at the International Ballet of Florida under the direction of Sergiy Mykhaylov and Darya Fedotova. Matthew graduated from Butler University (Indianapolis, IN) in 2017 with a Bachelor of Science in Dance Arts Administration degree. Griffin began his professional career with Cincinnati Ballet as an Apprentice for the 2017-2018 Season. He was promoted to New Dancer in 2018 and the Corps de Ballet in 2019. Griffin has performed featured roles in classical and contemporary ballets including Petal and Balance by Helen Pickett, Kiss by Stephanie Martinez, Cinderella by Victoria Morgan and works by Ohad Naharin, Twyla Tharp, Jiří Kylián, George Balanchine, Jennifer Archibald, Septime Webre, Amy Seiwert and others.
Emry Amoky is joining Pittsburgh Ballet Theatre as an Apprentice for the 2023-2024 season. Emry trained at the Houston Ballet Academy and was a member of Houston Ballet ll. Some of the ballets he has performed in include Peter Pan, Swan Lake, The Nutcracker, Raymonda and Paquita.
Nathan Smith is joining Pittsburgh Ballet Theatre as an Apprentice for the 2023-2024 season. He trained in the pre-professional program at Miami City Ballet School and the American Academy of Ballet. Some of the ballets in which he has performed include Swan Lake, Romeo and Juliet, George Balanchine’s Western Symphony, The Nutcracker and Jerome Robbins’s 2&3 Part Inventions.
Balanchine | 15 Facts & Beyond

As part of The Master Program: Balanchine and Beyond, Pittsburgh Ballet Theatre will perform George Balanchine’s opulent Theme and Variations from April 14 through 16 at the Benedum Center.
Balanchine, a Russian-born dancer/choreographer, is regarded as the most influential choreographer of classical ballet in the United States. He is often called the “Father of American Ballet” due to his influence in paving the way for ballet to flourish in America. He is credited with developing the neo-classical style distinct to the 20th century and is well-known for his modern-yet-classical, clean aesthetic. His trademarks include lighter costumes, minimal decor, faster movements, challenging choreography and plotless ballets.
His 1954 staging of Tchaikovsky’s The Nutcracker is probably his most famous work. It is the version best known for making the ballet an annual holiday tradition throughout the United States. It has been performed in New York City annually since 1954 and still continues its run there, as well as in nearly every city across America and throughout the World.

15 Fun Facts About George Balanchine:
- Balanchine is credited with creating 465 ballets, which have been performed by nearly every ballet company across the world.
- He choreographed his first ballet La Nuit in 1920 at the age of 16.
- In addition to attending the Imperial Theater Ballet School in Russia to study dance and choreography, Balanchine also enrolled at the St. Petersburg Conservatory of Music and studied piano, musical theory and composition.
- During the Russian Revolution, he played the piano in cabarets and silent movie houses for food and drink (when money was worthless).
- He co-founded both the School of American Ballet (1934) and American Ballet (1935), later re-christened the New York City Ballet (1948).
- He served as the artistic director of the New York City Ballet from 1935 until his death, on April 30, 1983.
- In total, he married and divorced four times – all to ballet dancers. His first marriage began when he was 18 years old and his bride, Tamara Geva, was just 15 years old.
- Known as a bit of a ladies’ man, Balanchine would give his various girlfriends different perfumes so he could distinguish who was coming down the hall.
- Balanchine loved to cook and in 1966 participated in a cookbook called The Ballet Cook Book with other ballet dancers and choreographers. Some of his recipes include blinis, beet borschok, “fish dinner for two” and “banana sweet.”
- He discovered a love for America that extended to all aspects of the culture. He wore western shirts and string ties and delighted in American TV commercials, often weaving phrases plucked from those commercials into rehearsals.
- Balanchine was proud to become an American citizen and made sure to vote at each and every election. He took jury duty so seriously that he refused to discuss any details of the cases he sat on, with even his closest friends.
- He worked with Claude Debussy, Pablo Picasso, Henri Matisse and Coco Chanel at various times.
- In addition to ballet, Balanchine choreographed Hollywood movies and Broadway musicals.
- A crater on Mercury was named in his honor.
- George Balanchine Way is a segment of West 63rd Street (located between Columbus Avenue and Broadway) in New York City that was renamed in his honor in June 1990.
Your Guide to Creating a Whimsical Look for Fractured Fairy Tales


Creating the perfect look for an occasion – whether it’s onstage at a ballet or for a party – is a crucial part of any event. Below are some tips on how to create a fairytale look, a take on the Ballet Core style that is popular today. This look is very elegant and traditional, with a bit of whimsy.
Kristin McLain, Costume Director at Pittsburgh Ballet Theatre, shared some ideas for how to translate the elements of fairytale ballet costumes into your own look for special occasions. According to McLain, “whether you go full costume or just sprinkle in a few elements, it’s easy to give any outfit a fairytale touch.”
- Incorporate historical elements into your outfit. In dresses, this could be corseted or more structured bodices, full skirts or adding a petticoat to make a skirt fuller. Also, look for dresses with trains or bustles, and add ruffles around the bust or cuffs. For a suit or other menswear, a blousy fabric will give an immediate historical look, as well as a higher collar, ruffles, and fuller sleeves. Additionally, jackets and vests that fit close to the body will have a formal, regal look. And for any piece, the more trim and appliques the better.
- Accessories! Costume jewelry, especially with jewels, will add a nice touch. Stacked necklaces, dangly earrings and even hair accessories will make a strong statement. Menswear should stay away from ties and try a ruffled scarf knotted at the neck. Gloves, capes or capelets and hats also work if you really want to go all out.
- True historical footwear is going to be character shoes or boots. Anything close-toed will give more of a fairy tale impression. A jewel or brooch on the tops of the shoes can be a nice touch. Patterned tights can also be fun.
- Hair can be simple or elaborate, depending on your look. Braids either loose or in an updo are a staple for a more girlish or everyday look–try braiding a ribbon through. For formal hairstyles, updos and curls all over, as well as barrettes, tiaras, or jewels. Men’s hair would be combed away from the face, and facial hair or sideburns could be accentuated or drawn on with makeup.
Aurora in The Sleeping Beauty
This costume is from PBT’s production of The Sleeping Beauty in 2023. It is a classical tutu and bodice made from white brocade and embellished with silver applique, beading, and jewels. And of course, every princess needs her jewelry and crown!
Artist: Joanna Schmidt; Photographer: Duane Rieder
Belle in Beauty and the Beast
Here is Beauty from PBT’s production of Beauty and the Beast, last performed in 2020. This is a romantic tutu that includes layers of tulle under the purple skirt. These details are a combination of fabric embellishment with hand-painted gold highlights. Of course, she’s wearing her tiara, and the arm puffs–while not strictly historical–are a common accessory in many ballets.
Artist: Marisa Grywalski; Photographer: Duane Rieder
Carabosse in The Sleeping Beauty
This is the costume for Carabosse from PBT’s 2018 production of The Sleeping Beauty. Carabosse is also known as Maleficent in books and movies. The costume is a severe, yet elegant, black gown with a scoop neckline and plenty of sparkle and jewels. A wicked, spiky crown completes the ensemble.
Artist: Eun Yung Ahn : Photographer: Rich Sofranko
The Beast as the Prince in Beauty and the Beast
In Beauty and The Beast, we watch as a monster turns into a prince. Here is the wedding jacket that the Prince wears after he’s transformed. This is a vest and sleeves made of orange silk and embellished with intricate beading on the chest and around the waist.
Artist: Alejandro Diaz; Photographer: Rich Sofranko
Alice in Wonderland
The costumes in Alice in Wonderland help tell the story that this is a place of madness. The Mad Hatter has a suit jacket made of velvet, hand-sewn checkered spandex pants, a brocade vest and a silk tie–many patterns and fabrics all together! Many of the other characters in the ballet have clashing patterns and colors. However, Alice is always in her innocent blue dress.
Artists of Pittsburgh Ballet Theatre; Photographer: Rich Sofranko
Cinderella’s Ballgown from Cinderella
Cinderella’s costume is a delicate, dusty pink brocade with a pink tulle skirt. Everything about this dress is light, airy, and sweet. What better dress to wear to a ball!
Artist: Alexis Kochas; Photographer: Duane Rieder
Reserve Your Spot at our Fractured Fairy Tales Dance Party
The Best of Amanda Cochrane | Announcing the Principal Dancer’s Retirement

Amanda Cochrane, principal dancer at Pittsburgh Ballet Theatre, announced her retirement on Feb. 27, 2023. Amanda has danced with PBT for 14 years. Due to an ankle injury, Cochrane was not able to give a final performance. She joined Pittsburgh Ballet Theatre in 2009, advanced to soloist in 2012 and to principal in 2014. In 2013, Amanda was named one of Dance Magazine’s “25 to Watch”. We talked to Amanda about her career, love of ballet and future plans.
Why did you choose to begin ballet?
I started ballet classes very early on in my life, so I have been a dancer for as long as I can remember. My parents could see how much I loved to dance and when I became old enough, they began sending me to summer ballet programs around the country to expand my knowledge of the ballet world. I was captivated by the artistry, athleticism and challenges that were presented to me at home and abroad. I continued my ballet training in Washington and focused on my high school studies while simultaneously attending college. After two years training with the Pittsburgh Ballet Theatre Graduate Program, I happily accepted a contract as a professional in the company. Ever since, I have been in disbelief that I could have been so fortunate to have this amazing career.
What is your favorite dance step?
If I had to pick, I would say a saut de chat or any type of traveling jump. I love the feeling of flying through space. I would travel as much as I could in the steps leading up to a saut de chat to gain the maximum momentum to launch myself across the studio. It was an invigorating sense of freedom. It was especially exhilarating when I had a dance partner to toss me into the air.
What is your favorite ballet you danced in?
I have so many favorites. They are each special to me in a unique way. Swan Lake was a ballet I grew up watching and imagining myself dancing one day. It was a truly epic moment for me when I was given the opportunity to perform the dual role of Odette/Odile. I cried quiet tears of joy at the start of my first black swan rehearsal. Sharing the room with women who had inspired me since my beginnings at PBT while rehearsing a variation I had always dreamed of dancing was overwhelming. I loved performing this role because of the depth and range of the two characters you portray, as well as the challenging choreography that is displayed. My three favorite moments to perform in this ballet were the serre devant at the end the white swan adagio, signifying her heartbeat when she falls in love with Prince Siegfried. The coda of black swan pas de deux, during Odile’s backwards hops in arabesque after she has Prince Siegfried wrapped around her little finger. And the heart-wrenching moment that Odette decides to end the tyranny of Rothbart by jumping off a cliff. I must add, the satisfying feeling of falling onto a mattress at the end of a show is something I’ll never forget!
What was your favorite role?
It is again hard to choose, but for now I will tell you about Giselle. For me, one of the best parts of rehearsing Giselle was being coached by Marianna Tcherkassky. She was an iconic Giselle and had so much knowledge to pass onto me. Having such an amazing role model made the experience so special. The story of Giselle highlights the consequences of betrayal and the lengths we will go to for love. The character, Giselle, had a vast capacity for forgiveness and protects a man that has broken her heart to the point of death. It was one of the most emotional stories I have had the privilege of performing. I loved the opening playful dialogue between her and Albrecht. It was so pure and innocent. The portrayal of falling into madness at the end of act one was a truly interesting part of Giselle’s character and one that took many hours of contemplation, coaching and rehearsal. I also loved the challenge of acting like a Wili in act two. Appearing like you’re floating across a stage brings a whole new approach to the way you dance. The ending of Giselle, as she floats down into her grave, chokes me up every time.
What ballet did you not have the opportunity to dance in, but wish you had?
George Balanchine’s Diamonds. I had the opportunity to briefly rehearse this beautiful ballet back in the fall of 2019, but unfortunately was never able to perform it onstage due to the Covid-19 shut down in the spring of 2020. My favorite part of rehearsing Diamonds was the solo in one of the scherzos. It was so musical, and you got to travel and take up all the space in the room.
What will you miss most about PBT?
I will miss all the incredible people I have met and learned from along the way. I will miss being a part of the creativity that happens in these studios. I will miss telling all the love stories and fairytales to Pittsburgh audiences. This retirement is very bittersweet for me and one of the most difficult decisions of my life. I wish my ankle had recovered to a state in which I could continue to be a successful ballerina, however, it is now time for me to move onward to a new stage in my life.
What is your favorite PBT memory?
The many post-performance hugs, celebrations and congratulations between friends and colleagues. There is something so special about a group of people supporting and celebrating each other after weeks of hard work.
What are your favorite non-dance hobbies?
I love outdoor activities. I often go hiking with my husband and Hazelnut, our dog. We love the serenity and beauty of nature. During the summer months we like to go paddle boarding and have even started taking our dog onboard! When I’m not off adventuring, I enjoy curling up by the fire with a good book.
What are your plans for the future?
My husband and I are relocating to my hometown in Washington. We are so excited to be closer to our families and may even start one of our own. We will miss the amazing city of Pittsburgh and all our friends. We are so grateful for all the memories!
Photography: Rich Sofranko
Pittsburgh Ballet Theatre Names New Artistic Director

Adam W. McKinney Will Serve as Organization’s Seventh Artistic Director Beginning March 2023
PITTSBURGH, PA (January 18, 2023) – After a comprehensive international search aided by Management Consultants for the Arts (MCA), the Board of Directors of Pittsburgh Ballet Theatre (PBT) announced today the appointment of Adam W. McKinney as artistic director. He will be the company’s seventh artistic director in its rich 54-year-history. McKinney, PBT’s first artistic director of color, will begin his role in March 2023.

“We are thrilled to welcome Adam W. McKinney as Pittsburgh Ballet Theatre’s next artistic director,” said President and Board Chair Mary McKinney Flaherty. ”After an extensive search, expertly led by search committee chairs Dr. Melonie Nance and Rich Beaty and guided by PBT’s historical strengths and established strategic goals, Adam became the clear choice to lead PBT’s next era. We believe Adam will be a transformative artistic director for our organization and leader in our community and throughout the world of ballet.”
McKinney has 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. He is a gifted teacher of classical ballet whose expertise lies in creating environments that support the training and development of artists. He will continue in the legacy of his predecessors by centering classical ballet repertoire as well as introducing new contemporary works and choreographers to Pittsburgh audiences. He strongly believes in building community connections and in making dance accessible to everyone.
“I am honored and excited to lead PBT into a new era as its seventh Artistic Director,” said McKinney. “Internally, I most look forward to building upon PBT’s significant ballet legacy by curating meaningful and innovative season programming, working with and mentoring company artists and PBT School students and developing relationships with the PBT staff. Many have prepared PBT and me for this moment, which I do not take lightly. Together we have an extraordinary opportunity to build PBT and Pittsburgh’s arts and culture ecology. Externally, I am moved to meet the people of Pittsburgh. Under my leadership, I will work to develop relationships in and with the broader communities to ensure that all people know that they are welcome and belong at PBT.”
“We are so excited to welcome Adam to PBT,” stated Acting Executive Director Kathryn Gigler. “He brings with him incredible creativity, energy and kindness and his leadership is going to have such a positive impact at PBT and in Pittsburgh.”
McKinney joins the ranks of PBT’s distinguished artistic directors, including founding artistic director Nikolas Petrov; Patricia Wilde who from 1982 to 1996 invigorated the company with the works of contemporary choreographers; Terrence S. Orr, who led the company from 1997 to 2020, elevated its repertoire through artistic vision and creative collaboration; and Susan Jaffe, whose tenure from 2020 to 2022 included launching the Open Air outdoor ballet series and spearheading digital programming, including the award-winning Fireside Nutcracker. McKinney succeeds Jaffe, now artistic director at American Ballet Theatre.
About Adam W. McKinney
Adam W. McKinney has 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. McKinney was most recently an Associate Professor of Dance in Ballet with tenure in the School for Classical & Contemporary Dance at Texas Christian University. There he taught courses in classical ballet, modern dance and choreography. He was the Co-Director/Co-Founder of DNAWORKS, an arts and service organization committed to healing through the arts and dialogue. Previously, he was the inaugural Dance Department Chair at New Mexico School for the Arts in Santa Fe.
He has danced with some of the world’s preeminent dance companies, including Alvin Ailey American Dance Theater, Alonzo King LINES Ballet, Béjart Ballet Lausanne (Switzerland), Cedar Lake Contemporary Ballet and Milwaukee Ballet Company.

McKinney has led dance work with diverse populations across the U.S. and North America, and in Africa, Asia, Europe and the Middle East. A leader who is committed to making ballet and dance accessible to all, he served as a U.S. Embassy Culture Connect Envoy to South Africa through the U.S. State Department. McKinney has created community social justice and awareness projects including the interactive Fort Worth Lynching Tour: Honoring the Memory of Mr. Fred Rouse and “The Borders Project” at the Mexico/U.S. and Palestine/Israel borders. He was also honored with the NYU President’s Service Award for his dance work with populations who struggle with heroin addiction.
McKinney was named one of the most influential African Americans in Milwaukee by St. Vincent DePaul. He holds a BFA in Dance Performance with high honors with a focus on classical ballet from Butler University and an MA in Dance Studies with concentrations in Race and Trauma theories from the Gallatin School at New York University.
Behind the Scenes of The Nutcracker: Costumes Galore!

With five scenes, over 150 unique costumes, more than 1,500 accessories and 21 performances, Pittsburgh Ballet Theatre’s (PBT) production of the holiday classic The Nutcracker is no small feat. One unique aspect of The Nutcracker is its amazing costumes, which were designed specifically for the beloved holiday tale.
Janet Groom Campbell, who was PBT’s Costumier for more than 48 years, says that organization is key for the myriad of costumes used in The Nutcracker, and much of that preparation occurs even before performances begin.
“I always said that The Nutcracker is our best friend because we can work on it any time during the season because it is always there,” Campbell remarked.
“We pull all the costumes for each performance from storage, organize everything in the costume shop and make sure everything is performance ready. Then, one Saturday in November, we do all the student fittings and have Kathie Sullivan (PBT’s Wardrobe Supervisor) come in to pack and count everything to be transported to the Benedum Center.”
Kristin McLain, current Costume Director at PBT who has been working with the organization since 2016, noted that, “Pretty much all of November is a scramble to get Nutcracker ready.”
McLain described the annual preparation routine for The Nutcracker as very methodical and precise.
“Year after year, we follow the same plan as the year before,” said McLain. “During the summer, we pull each group of costumes from the back storage and carefully look through for repairs.”
According to McLain, typically in early November, they’ll have a costume fitting day for the nearly 150 students who are dancing in The Nutcracker. This is usually a fast-paced, fun day because they get to see all of the kids who will be performing and can make sure that their costumes fit and that they know how to put them on. At the end of November, company casting is released and the costume department can begin fitting the company dancers and graduate students.
“Many of the dancers have worn these costumes in years past; however, we find that we can usually make a few minor adjustments to perfect the fit,” said McLain. “While we don’t usually have difficult alterations, with so many dancers it can add up.”
Campbell explained that, “When building a show like The Nutcracker, you build the costumes in a way that is easy to fit on many different bodies because during the lifespan of a Nutcracker costume, it will be worn by many different body types.”
After alterations are complete, the costumes must be transported to and organized at the Benedum Center for the Performing Arts.
“When packing, Kathie Sullivan organizes how the crates are packed and where they will go in the theater. Most costumes have at least four accessories,” Campbell explains.
According to McLain, The Nutcracker has the most costumes and dancers that she’s ever worked with and due to the number of people and activity backstage, it MUST stay organized.
“At the theater, Kathie Sullivan and her dressers keep everything in order”, said McLain. “The costumes and dressing areas are located over four floors of the Benedum: the basement dressing rooms, stage level dressing rooms, entry level dressing rooms and rehearsal studios. For a full week before performances, Kathie and her team place costumes, tights, shoes/boots and headpieces into the areas of the corresponding dancers. Between shows, items will return to the wardrobe room for washing and repair and will then be placed back exactly where they belong.”
In addition to the company and graduate student dancers, there are also nearly 150 student dancers involved in the performances. The student costumes include everything from flowers and snowflakes to party children, soldiers, bumblebee, clowns and everything in between.
Although it certainly takes a village to alter, assign and distribute all of the costumes required of The Nutcracker, the effort certainly pays off — the over 150 dazzling, unique costumes bring the magical ballet to life on stage.
Get an up-close look at the details of The Sugar Plum Fairy, Cavaliere and The Nutcracker Prince costumes below.
Don’t miss your chance to experience the magic of The Nutcracker this holiday season, running December 9-28 at the Benedum Center!
Thank you to our sponsors, Highmark, Giant Eagle, Clearview and Federal Credit Union for their support of The Nutcracker.