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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.
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.