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Casting for Dracula Has Arrived!
PBT will be staging Michael Pink’s world-renowned Dracula for the first time ever in Pittsburgh. The ballet has been viewed and lauded by millions of people worldwide. The powerful choreography and edge-of-your-seat drama in this entrancing production create a provocative and riveting performance. You’ll be enthralled by the exquisite costumes, gothic scenery and dramatic score in this provocative tale of bloodlust and suspense. All of the roles are performed by the talented artists of Pittsburgh Ballet Theatre and Pittsburgh Ballet Theatre School.
Dracula will be at the Benedum Center February 10-12, 2023
View Dracula enrichment experiences and the performance schedule here.
Check out interviews with Michael Pink and Soloists Tommie Lin O’Hanlon and Corey Bourbonniere.
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.
Meet Ryan Sharp AKA The Nutcracker’s Fritz!
Fritz is Marie Stahlbaum’s pesky younger brother in The Nutcracker. For anyone who has a sibling, there is a familiarity to his relationship with Marie. They love each other, but Fritz is also a master of pushing buttons. One could argue that without Fritz, The Nutcracker story would cease to exist. He is the one who breaks Marie’s beloved Nutcracker and causes her to bandage him and sleep with him under the Christmas Tree. It is also his toy soldiers who fight the mice and set the chain of events in motion that cause the Nutcracker to become a Prince and send him and Marie into a journey to the Land of Enchantment.
This year, Pittsburgh Ballet Theatre School student Ryan Sharp is one of the dancers who will portray Fritz in The Nutcracker. We asked him a few questions about his thoughts on the role and ballet in general.
Q&A With Ryan
How long have you been dancing with the PBT School?
Since I was four years old.
Have you danced anywhere else? If so, how long?
I have only gone to PBT for the school year. I did go to American Ballet Theatre, the Washington Ballet, and Point Park for virtual summer programs.
Are you from Pittsburgh?
Yes.
How many times have you danced in The Nutcracker?
This is my fifth time.
What other roles have you performed in The Nutcracker?
I’ve been a party boy, soldier, and carousel.
Which one was your favorite?
I liked being Heinz [party scene boy]. It was a really fun role.
What makes you the most excited about being Fritz?
Working with the company so much and all the different things you have to do on stage.
How much alike are you and Fritz?
Not very much, but I could see myself accidentally hitting someone with a tricycle.
What would your dream Nutcracker role be? Dream overall ballet role?
In The Nutcracker, it would probably be Mctavish [party scene adult]. I have too many choices for the second one.
Do you want to be a professional dancer?
Definitely.
It’s Opening Night for The Nutcracker
The magic of The Nutcracker returns to the Benedum Center stage! Beneath the Stahlbaum’s growing Christmas tree, a battle between the chivalrous Nutcracker prince and the unrelenting Rat King unfolds, captivating the young Marie and sending her on an adventure through the Land of Enchantment. Stunning scenes, glittering snowflakes and Tchaikovsky’s positively charming score make The Nutcracker a classic Pittsburgh holiday tradition.
Choreography & Concept: Terrence S. Orr
Music: P.I. Tchaikovsky
Photo Gallery
Photos by: Aviana Adams
Theater Programs
Nutcracker Family Workshop | Saturday, Dec. 10 | 12:45 p.m.
Join us for a Nutcracker story time, meet the Sheep characters, and do a themed craft with us! Register here!
Artis Q&A | Saturday, Dec. 10 | after the performance
PBT Artists Ariana Chernyshev, Gabrielle Thurlow, William Moore and Jacob Patrick Miller take your questions after the show! No registration needed.
Curtain Up! | Sunday, Dec. 11 | 11 a.m.
Watch the last few minutes of company class on stage, and preview the show with PBT Company Artist Jonathan Breight. No registration needed.
Audio-described Performance | Friday, Dec. 16 and 27 at 2 p.m. (Sensory-friendly Performances), Dec. 18 at 12 p.m.
Live narration of the performance for those with blindness or vision impairment, or for anyone who’d like to listen! No registration necessary.
The Nutcracker Casting Is Announced!
Casting for The Nutcracker has arrived!
It’s the most magical time of the year as Marie and her Nutcracker prince journey to the Land of Enchantment. Along the way, they encounter the Snow Queen and King, The Rat King, the Sugar Plum Fairy and her Cavalier, and a whole cast of memorable characters! All of the roles are performed by the talented artists of Pittsburgh Ballet Theatre and Pittsburgh Ballet Theatre School.
The Nutcracker returns to the Benedum Center December 9-28, 2022
EXPLORE THE NUTCRACKER
Programs and performance dates: View Nutcracker enrichment experiences and the performance schedule here.
Sensory-friendly: Information on sensory-friendly performances and workshops can be found here.
Guidance for young attendees: Learn about The Nutcracker story and its characters in the Children’s Activity Guide.
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.
Remembering Jay Romano
This past weekend, PBT lost Jay Romano, our beloved CFO of over 40 years. Jay left a profound impact on PBT, and his tremendous passion, incredible empathy and terrific positivity will never be forgotten. He was a mentor, a friend and the beating heart of PBT. We are deeply sorry to lose such a wonderful person, and we send our love to Jay’s family and friends at this time.
Thank you Jay, for your inspiration, dedication and your smiles. PBT will always honor your legacy.
As a loyal Pittsburgh Ballet Theatre employee of 40 years, Jay has spent his entire adult life working in a very demanding profession. As chief financial advisor, he has helped lead the organization to increasing levels of service, recognition and support while fulfilling its mission to enrich the cultural growth of the community. He continues to focus his attention on accurate and timely financial reporting and cash flow management which are critical for each department in order to reach the strategic objectives of the organization. Jay provides reliable financial analysis, robust projections research and compelling recommendations to assist the leadership team in making artistic, development and financial decisions to achieve growth projections. Jay served as a board member of the Canon McMillan School District from 1993 through 2009 while serving as past Treasurer and Board President and served on the grant review panel for the PA Partners in the Arts.
PBT will honor Jay in the coming weeks with a Celebration of Life; details for this event will be announced soon.
The Nutcracker Through the Years: Reflections with Ariana Chernyshev
At PBT School, students have the opportunity to perform onstage in PBT’s production of The Nutcracker every season, starting as young as age 8. Students who train in the School over the course of many years are therefore able to perform multiple different roles in the holiday production as they grow.
Ariana Chernyshev, current company apprentice who was trained from Pre-Ballet all the way through the Graduate program at PBT School, reflects on her own journey with PBT’s The Nutcracker that began nearly 14 years ago.
Can you remember your first Nutcracker experience? What role did you dance? Were you excited, nervous, etc.?
My first experience with The Nutcracker was in 2008, and it was absolutely unforgettable! I was the Little Party Girl, which was an honor since only two girls from the youngest age division are selected for this role. There is a good amount of acting and the rehearsal process was very exciting since the other party children were a few years older. My ballet bestie was the Little Party Girl for the other cast, and we would write notes back and forth to each other in the book we colored in onstage. I didn’t feel nervous until I was backstage – this was my first production on a big stage with a professional company and everything seemed larger than life. I was fully enraptured by the sets, costumes, lights and the older dancers having their final moments to practice before the show. After my first entrance, my nerves transformed into pure elation and that first show of The Nutcracker became the memory that I hold in my heart as the moment I knew I would do anything to become a ballerina.
What roles have you danced in The Nutcracker? Which ones have been your favorites and why?
In Terrence S. Orr’s The Nutcracker, I have danced the roles of Little Party Girl, Soldier, Bumblebee, Mouse, Black Sheep, Party Girl, Clown, Young McTavish, Clara Doll, Aviary, Flower, Snowflake and Spanish. Little Girl in the party scene will definitely be a role I always treasure since it was where I truly fell in love with performing, but I also loved getting to shake my stinger at the end of the show as a Bumblebee! Mouse was another one of my all-time favorite roles, as they are quite cheeky. As a young dancer performing child’s roles in The Nutcracker, I always wanted to be a Snowflake. I thought that the older dancers were so beautiful, graceful and powerful, especially with their gorgeous crowns and fluttery tutus. The magic of performing as a Snowflake now is something I don’t take for granted. Also, the camaraderie of the Snowflakes really adds to the enchantment of each performance.
What was your most recent Nutcracker role? How have you changed as a dancer since the first time you took the stage for The Nutcracker?
This past Nutcracker season, I danced as a Snowflake, Flower and understudied for Spanish. Last-minute casting adjustments allowed for me to perform in the Spanish, including an emergency during intermission! The ability to be ready to step in with just a moment’s notice is incredibly useful in the world of the performing arts and it was exciting for me to be able to challenge myself in that way. I’ve come a long way as a dancer from my first Nutcracker, and have gained a lot of crucial performance experience.
How has your experience dancing in The Nutcracker affected your growth as a dancer and performer? Has it prepared you for future performances?
Dancing in The Nutcracker over the past 14 years has led me to fall in love with ballet, expand my artistry and push my body physically. From my very first performance, I knew that ballet was going to be one of my greatest passions in life. The multiple children’s roles I began with were the introduction of my development as an onstage performer. As my roles became more physically strenuous, including the addition of pointe shoes, Nutcracker became a time for me to practice managing the stress on my body. This self-management has proven to be absolutely invaluable in my time as a dancer, especially during PBT’s most recent performances of Swan Lake with the PBT Orchestra. As both a dancer and a performer, The Nutcracker has become a benchmark of my growth and progress.
What is your favorite memory from all of the Nutcracker seasons you’ve taken part in?
Both of my little sisters have danced at Pittsburgh Ballet Theatre School and have performed in the company’s production of The Nutcracker, and my mother (Toma Smith) works with the children for roles in the battle scene and Act II. One of my favorite memories is a performance that we were all a part of!
Don’t miss your chance to experience the magic of The Nutcracker this holiday season, running December 9-28 at the Benedum Center!
[Buy Tickets button: https://pbt.culturaldistrict.org/production/78322/the-nutcracker]
Interested in enrolling your child at PBT School so they can enjoy performance opportunities like this? Click the link below to learn more!
[Learn More button: https://pbt.org/pbt-school/join-our-school/]
Thank you to our sponsors, Highmark, Giant Eagle, Clearview Federal Credit Union for their support of The Nutcracker.
How Our Dancers Spent Their Summer
After a long and successful season, PBT Company dancers enjoyed a well-deserved break for the summer months. From performing internationally to spending time with family, read on to learn how some of the dancers spent their time outside of the PBT Studios!
Jack Hawn
I spent the 5 weeks of ISP as an accompanist for various classes throughout and thoroughly enjoyed being on the other side of ballet class. I always learn a lot from watching eager young students absorb all the new information they are given from teachers. Plus, I like to support dancers from behind the piano when I can since I know firsthand that lush, lively, energetic music can make all the difference when you are working so hard in the studio.
Jessica McCann and Yoshiaki Nakano
Since Yoshi and I got married in 2019, we haven’t been back to Japan since! So it was a huge deal for us to return this summer. We left right after the season ended. Yoshi and his mother host a gala every summer in Osaka, Japan that he himself puts together and organizes. It was the first time in three years since the World Dream Gala was hosted, so it was very exciting and emotional.
Yoshi and I danced Giselle Act ll pas de duex together, along with Annabelle Lopez Ochoa’s La Pluie duet that we performed with PBT in the spring.
We also had the honor and joy of performing in Tokyo at the New National Theatre of Tokyo for the Gala Ballet Asteras, with live orchestra by the Tokyo Philharmonic Orchestra. We danced with stunning Japanese dancers from all over the world who brought their partners to perform for two days, and it was outstanding. Yoshiaki was personally invited, but the majority of the artists had to apply to be accepted to perform in the gala so it was a huge honor. We shared the stage with world class dancers, including a couple from NDT1, dancers from Paris Opera Ballet, principal dancers from Royal Ballet, Royal Swedish Ballet, Royal Birmingham Ballet, Berlin Ballet and Opera National Bucharest just to name a few.
While we were in Japan we also found time to travel all over the beautiful country and relax a bit. We spent several days traveling around Tokyo, spent quality time with Yoshi’s family in Osaka where his grandmother just turned 101, ate amazing food, and we feel so grateful for the memories made and all the new friends.
We also visited Japanese temples and climbed thousands of steps to get to them! We love going to Onsens (natural hot spring) in Japan so we found a very special one up in the mountains of Kagawa. A gorgeous countryside landscape of green hills, fog and rice fields.
Caitlyn Mendicino
I staged Napoli in PBT School’s Company Experience with Jonathan Breight. I also harvested three different kinds of honey from my bees!
Tommie Lin O’Hanlon
My husband and I welcomed these two bundles of joy into our lives! Everyone meet Pork and Beans, our sweet little Frenchies!!
JoAnna Schmidt
One of the things I did was choreograph a piece, For Raymond, for the PBT School Graduate program and restaged it on some of the dancers in the Company Experience! I also went home to Florida and took my dog, Tiger, to New Smyrna Beach.
Gabrielle Thurlow and William Moore
Will and I were lucky enough to experience a summer full of travel. We went to Italy to visit Will’s family. We enjoyed lots of pasta, wine and fabulous company. It was great to catch up with them. We also took a trip to Brazil for a wedding! It was a first in this country for both of us, and it was an amazing experience.
Siri Vedel’s Journey in the Intensive Summer Program
Siri Kiilerich Vedel was born in Copenhagen, Denmark and began dancing at the age of 3. She trained at the Royal Danish Ballet School and Tivoli Ballet School before she moved across the Atlantic Ocean at fifteen to join the University of North Carolina School of the Arts’ high school ballet program, her first experience with the American ballet world. Siri has spent the last several weeks dancing in level 5 of PBT School’s Intensive Summer Program (ISP) and will begin training in the School’s Pre-professional graduate program this September.
Read on to learn how Siri feels she has grown as a dancer and as a person throughout the five weeks of ISP!
What interested you about PBT School’s ISP?
PBT School’s ISP interested me with its variety in classes and impressive group of instructors. This summer was my first American 5-week summer intensive and I was intrigued to experience a summer with PBT, full of exploration and growth. The faculty and other students created an incredibly supportive and positive environment throughout the program, which made the experience so joyful. I found that I easily improved in a place where everyone around me strived to succeed and see others succeed.
What were some of your favorite ISP classes?
My favorite ISP classes were repertoire and partnering/coda class. My level learned “Shades” from La Bayadère for our repertoire class. The hours preparing and polishing our piece for the end-of-program showcase taught us how to work as a group and as individual dancers on stage. The individual coaching during repertoire made the experience feel personal and the group corrections created a feeling of unity, weaving my level together as the weeks went by. In partnering/coda class we worked on the Tchaikovsky coda, which required us to work closely with our partner. It was so much fun to see how our partnering skills progressed and how we all improved on the coda over the course of the class.
How do you feel that you have grown as a dancer since you started ISP?
Since I have started ISP, I feel that my technique, artistry and presentation of myself have improved. The structure of our weekly schedule allows for quick technical improvement and before I knew it, I could do things I was not able to do when I first began the program. The supplementary strength classes, such as Pilates and yoga gave me a solid foundation for my long days of training and prevented me from any injuries. Dancing with a new group of people and faculty pushed me out of my comfort zone and I quickly got more confident in presenting myself and my own way of moving. This skill was an important one, as our schedule with variations classes and repertoire required us to present ourselves on a weekly basis.
What has been your favorite activity outside of the studio?
The excursions outside of our dance classes allowed us to grow closer across all levels and it fostered our collaborative atmosphere. My favorite activity outside of the studio was the Gateway Clipper cruise. It was a great way to celebrate our hard work across the whole program, while also getting the chance to see Pittsburgh from the river. It was an activity we were all looking forward to and it was great to look back and see how far we had come since the beginning of the program. My friendships I have created during this program have been so inspiring and I have loved getting to know all the people in my level both inside and outside of the studio.
What is something that has surprised you about ISP?
Something that surprised me at ISP was the incredibly supportive environment that both the faculty and students have created during the program. Whenever there was something frustrating or difficult in my classes, both my friends and the faculty were ready to assist and help me improve, providing a positive and encouraging atmosphere. The supportive environment at PBT made me feel comfortable to experiment and work hard in all my classes, which pushed me to improve fast and efficiently.
Do you think you will return to PBT next summer? Why or why not?
I would love to do another summer with PBT, as this summer has gifted me with so many new tools for my training. I am also very interested in doing the Company Experience program at PBT because preparing and performing at the ISP showcase was one of the things I enjoyed most about my summer. The ISP has opened my eyes for the many great programs that PBT offers and I am so excited and grateful to elevate my training at PBT in the fall.
What are your hopes for the future?
I hope to have a professional career with a ballet company. Training at PBT this summer has provided me with further skills to strengthen my technique that I will use in my pursuit of my goals in the future. I have really appreciated the opportunity to train with a school that is so structured and professional, yet also allows for individuality and personal growth. I feel that my summer with PBT has pushed me a step further toward my future professional goals and achievements.
Learn more about PBT School’s Intensive Summer Program and how you can audition for next year’s program below!
Pittsburgh Ballet Theatre Artistic Director Susan Jaffe Announces Move to American Ballet Theatre
Pittsburgh Ballet Theatre Artistic Director Susan Jaffe Announces Move to American Ballet Theatre
Effective December 2022, the Former ABT Principal Dancer Will Return to the NYC Company as Artistic Director
PITTSBURGH, PA (May 9, 2022) – Pittsburgh Ballet Theatre Artistic Director Susan Jaffe announced this morning that she has been named Artistic Director of American Ballet Theatre, where she spent more than 30 years of her career. She will begin her new role at ABT in December. PBT remains in an excellent position to further realize the company’s vision and mission.
“What a profound honor it is for me to come back home to lead the artistic helm of American Ballet Theatre,” says Ms. Jaffe. “I have experienced so many iterations of my career at ABT. I was a student, second company member, main company member, teacher in the school, advisor to the chairman and a director of repertoire for this company. However, I wouldn’t have been able to take on this new challenge without everything I accomplished at PBT. It is an outstanding organization.”
“We are grateful for the contributions Susan has made to PBT,”says PBT Board Chair Mary McKinney Flaherty. “I look forward to working with the executive search committee to identify the next artistic director.”
Ms. Jaffe is PBT’s sixth artistic director in the company’s 53-year history. From the organization’s founding in 1969, PBT has evolved into a critically acclaimed company with international reach.
Her tenure featured many artistic achievements, including:
● Choreographing a new Swan Lake that debuted last Friday
● Stewarding PBT’s presence during the COVID-19 pandemic and spearheading
the creation of a robust library of collaborative and innovative digital programs,
including Fireside Nutcracker which won three Telly Awards
● Launching the Open Air: A Series in Celebration of the Performing Arts outdoor
festival in partnership with executive director, Harris Ferris, where she debuted
Bolero, her first original piece of choreography for PBT, which was also
performed at the Carnegie Museum of Art’s Hall of Sculpture
● Guiding a successful return to the stage with Season Premiere with the PBT
Orchestra in October 2021
● Promoting innovative and classical works by leading choreographers, including a
showcase of five female choreographers at Here + Now in March 2022
● Launching a collaborative program between Pittsburgh Ballet Theatre School and
Point Park University in which graduate students of PBT School can receive
academic instruction from Point Park and earn a B.F.A. in dance in two years
Swan Queen Spotlight: Marisa Grywalski
Though Soloist Marisa Grywalski has danced in PBT productions of Swan Lake twice before, the upcoming production marks her debut as the Swan Queen. Marisa shares her journey from her first performance as a PBT School Graduate student to now dancing one of ballet’s most iconic roles. Don’t miss your chance to see her perform in Artistic Director Susan Jaffe’s new production of Swan Lake, running May 6 – 15 at the Benedum Center!
What has it been like to learn Swan Lake under the direction of Susan Jaffe, who is such an iconic Swan Queen?
I started my journey with Susan and the role of Odette for one of our outdoor gala performances. I was to perform the White Swan Pas de Deux. She guided me through every moment, showing me not just where to step and how to angle my head, but explaining the intention, which is the most important aspect. Every moment has a meaning and every moment is an opportunity to tell the story of love, trust and tragedy. This holds true even today as she guides and teaches us all four acts. She often reprises the role to demonstrate what words cannot express. I see very much of her and the long history she has with Swan Lake in the choreography.
What part of the ballet holds a special place in your heart?
I love the entrance of Odette where she meets the Prince, as well as Odile’s entrance.
Tell us about your first performances of Swan Lake with Pittsburgh Ballet Theatre.
I had the pleasure of dancing Terrance S. Orr’s Swan Lake twice. In my first experience when I was a PBT School Graduate student, I was one of the corps peasants in Act I. I also performed in the swan corps and was one of the princesses in Act III. This was my first time performing with the company where I was in all four acts. I loved every beautiful and painful moment; it was a real taste for corps de ballet life. I had responsibility and started to create positive and friendly relationships with the other professionals.
In the most recent production of Orr’s Swan Lake I danced again in all four acts, this time as a corps member of the company. I danced in the pas de six in Act I, as a big swan in Acts II and IV, and in Act III’s Spanish dance. I must mention that I danced all of these roles and every show with Danielle Downey by my side. Sharing all of these roles with her was so wonderful.
Can you talk about your pre-show ritual?
Sometimes I take a really hot shower before I warm up to get my blood flowing. I tend to spend most of my time on stage — lots of walking around, marking movements, getting used to the space and most importantly choosing my shoes for the night.
How many pairs of pointe shoes have you used during the rehearsal process?
I use a new pair of shoes for pas de deux rehearsals. They need to be new in order for me to rehearse properly. The support is critical, especially for adagio work. Once softened a bit I then use them for our morning technique class.
How do you prepare for this role?
Susan has brought in an acting coach, Byam Stevens, for the company to work with. He has been focusing on all interactions between Odette-Odile and Prince Sigfreid. After working with Byam, I would say there has been a shift in how I am approaching both roles. Also, the steps are beginning to feel more natural after further discovering where they are stemming from.
Walk us through what it is like to embody both Odette and Odile.
A dancer can spend their whole career developing deeper into these roles. I believe that we all have a bit of both characters in each one of us. For my first time learning these roles I started by exposing those similarities in myself. If it’s not coming from an honest place, then the audience will pick up on that.
Marisa will perform as Odette-Odile on Saturday, May 7 at 7:30 p.m. and Friday, May 13 at 7:30 p.m. See the full casting list here and don’t miss your chance to see Swan Lake with the PBT Orchestra May 6 – 15 at the Benedum Center!
Swan Queen Spotlight: Jessica McCann
For Soloist Jessica McCann, dancing the iconic role of Odette-Odile in Susan Jaffe’s Swan Lake is a dream come true — and a dream that she has worked hard to achieve. From her first performance in Swan Lake with Pittsburgh Ballet Theatre in 2018 when she performed as a Little Swan and in the pas de trois, to now dancing the technically demanding lead role, Jessica finds the accomplishment well worth the challenge. Read on to discover how she is preparing for the daunting and exhilarating milestone of her debut performance as the Swan Queen.
What has it been like to learn Swan Lake under the direction of Susan Jaffe, who was such an iconic Swan Queen?
It’s been an absolute privilege and honor to have Susan in the studio with me, passing down all the knowledge and experience she has from her career and the legendary coaches she got to work with. It’s hard to put into words the gratitude I feel. It makes me feel safe, because I have her here guiding me into the most successful debut I could hope for in such an extremely difficult role, one I’ve dreamt of performing all my life. I’m fully trusting the process and it’s a lot of hard work and detailing. Susan is working closely with me, handing me all the tools for finding my own Swan Queen.
How do you prepare for this role?
There’s a lot to do and many ways I’ve been preparing for this role. When I’m not rehearsing the steps and working on my stamina, I listen to the music, think of the story, review the choreography and do a ton of positive visualization. We’ve also been working with dramaturge coach Byam Stevens who also worked closely with Susan Jaffe during her career. Then, of course, I’m being coached by Susan herself. Creating that dialogue and personal story in my head and with my partner is really important.
How many pairs of pointe shoes have you used during the rehearsal process?
I easily kill one pair of pointe shoes within an hour of rehearsing the White Swan adagio from Act ll. With all the repetition and getting the steps just right, or that tender moment with my partner just right, it really kills the shoes. I dry the shoes out, glue them and wear them again the next day for something else, but on average I’m currently going through roughly four to five pairs of shoes a week, and that’s squeezing by.
Thinking about my performance and what my “shoe plan” will be feels like a gamble. I’m currently thinking about wearing new shoes for Act ll, Act lll Black Swan and a third new pair for Act IV, so I’d have to prep three pairs of shoes per dress rehearsal and each performance.
Can you talk about your pre-show ritual?
It’s different with every production because it depends on what role I’m doing, but I usually like to keep to myself. For big roles like this I’ll probably be ready early because I like living in the costume for a bit to make it feel normal and I fall into the role easier when the costume is on. I calm myself mentally, do positive visualization and make sure I’m in the right headspace. That’s extremely important to me. I also check in with my partner and we might try a few things after class. I just try not to psych myself out or get in my head too much about anything. After so much rehearsal I have to trust it’s in my body so the mind must be calm. You’ll probably also find me fussing over my pointe shoes until the show starts because they have to be just right.
Walk us through what it is like to embody both Odette and Odile.
I think we all have different sides to us as people, so drawing that out in yourself to the maximum in each direction is what it feels like to go from rehearsing Odette to Odile and back to Odette in the same rehearsal day. They are completely different. In order to make that switch, you have to know your character really well, which is what I’ve been working on. I’ve really just thrown myself into the experience and rehearsal process. I have to put myself there mentally to really dive deeper into these two roles.
Odile is a temptress — she’s seductive and finds joy in playing this game with Rothbart of Siegfried’s heart. Odette is a princess that has been taken by Rothbart and she’s essentially a hostage, a victim of a horrible curse. She’s kind, still has pride as queen of the swans and she knows what she must do at the end of this story, which takes a strong person to make that choice. She’s the kind of person who forgives the prince for his mistake of falling for Odile’s tricks, but knows she must sacrifice herself so the curse can be lifted. I really enjoy playing both types of characters. I’ve always loved roles with deep acting involved, so this is honestly a challenge I’m extremely excited about.
What part of the ballet holds a special place in your heart?
The music. The story. The emotional depth of this ballet — it’s a masterpiece. I bring myself to tears listening to the music and watching the story unfold in my mind, specifically in Act IV where Odette has been betrayed by Siegfried. Even though she forgives him, the damage has been done. She says goodbye to her love and fights to break free from Rothbart to kill herself and break the spell. The music there is so overwhelming to me I’ll probably cry on stage. Another amazing moment in the music and story is in Act lll where it’s Odile’s first entrance with Rothbart. Arriving fashionably late of course, turning every head in the ballroom and immediately seducing Siegfried. I mean, what an entrance!!
Jessica will perform as Odette-Odile on Sunday, May 8 at 2 p.m. and Saturday, May 14 at 2 p.m. See the full casting list here and don’t miss your chance to see Swan Lake with the PBT Orchestra May 6 – 15 at the Benedum Center!
Pittsburgh Ballet Theatre Welcomes Two New Apprentices
Pittsburgh Ballet Theatre (PBT) is pleased to welcome two promising young dancers as company apprentices for the 2022 – 2023 season. Ariana Chernyshev and Maria Eduarda Pinto will gain exceptional professional experience and enjoy exciting performance opportunities with the PBT company under the leadership of Artistic Director Susan Jaffe.
“After the success of the inaugural year of the apprenticeship program, I am excited at the possibilities inherent in these dancers’ futures,” Ms. Jaffe says. “I look forward to nurturing them throughout the course of the 2022 – 2023 season and helping them take their artistry to new heights.”
In addition to the invaluable experience of rehearsing and performing alongside PBT company dancers, the apprentices will have the option to pursue certificate or college degree programs through partnerships with Point Park University, Seton Hill University, Community College of Allegheny County and Chatham University. PBT is grateful to Leslie Fleischner and her late husband Hans for their thoughtful support of young dancers pursuing careers in the arts.
About the Apprentices
Ariana Chernyshev
Ariana Chernyshev was born in Pittsburgh and trained at Pittsburgh Ballet Theatre School (PBT School) from Pre-Ballet all the way through to the Graduate program. Additionally, she attended summer programs at Pacific Northwest Ballet, American Ballet Theatre, Cincinnati Ballet and The Washington School of Ballet. In 2019, Ariana accepted a trainee position at The Washington School of Ballet, where she performed with the company and danced lead roles in classical and contemporary works with the school. As a Graduate student at PBT School, she has had the honor of performing with the company in George Balanchine’s Rubies, Terrence S. Orr’s The Nutcracker and Sleeping Beauty. In 2022, Ariana performed as a guest artist of Tulsa Ballet’s Swan Lake. Ariana enjoys teaching yoga to the high school students at PBT School and is thrilled to perform Susan Jaffe’s Swan Lake in May!
“Pittsburgh is home, and I’m incredibly grateful for the opportunity to perform for my beautiful city and its vibrant community,” Ariana says. “We are so lucky to have Susan Jaffe as artistic director and I’m beyond excited to be a part of this new chapter for PBT!”
Maria Eduarda Pinto
Maria Eduarda Pinto was born in Rio de Janeiro, Brazil, where she started taking ballet class at the age of two. She joined the Maria Olenewa Dance School and finished her studies at the Lyceu Dance School supervised by Lorena Boaventura. In 2020, she trained at Miami City Ballet with Aranxta Ochoa and Alexander Iziliaev. She won several awards in competitions in Brazil and was a finalist in the Latin America Selections of the Prix de Lausanne and the Youth America Grand Prix, in addition to participating in several international competitions such as Tanzolymp, ADCIBC, WBC and VKIBC.
“I am very happy and excited to join Pittsburgh Ballet Theatre as an apprentice because it has always been my dream as a dancer to start a professional career in a company with several renowned masters and excellent dancers,” Maria says. “It makes me very excited to give my best this season.”
Principal Dancer Alexandra Kochis Prepares to Take Her Final Bow
After 27 years as a professional dancer and 16 years at Pittsburgh Ballet Theatre, Principal Dancer Alexandra Kochis has announced that she will be retiring at the end of the 2021-2022 season. Her performance as Odette-Odile in Swan Lake with the PBT Orchestra on Saturday, May 14 at 7:30 p.m. will be her last with the company. Alexa has been a principal dancer with PBT since 2009.
“It has been a pleasure to have the chance to work with Alexa over these last two years,” says Artistic Director Susan Jaffe. “The exquisite artistry of her performances will truly be missed by all of us. We wish her well on her next chapter.”
Originally from North Andover, Massachusetts, Alexa began her ballet training at the age of 5, and studied six days a week throughout her childhood. After graduating high school, she planned to attend college at Georgetown University, but changed her mind when Boston Ballet’s Artistic Director of the time Anna Marie Holmes offered her a position with Boston Ballet II in the corps de ballet. Alexa joined Boston Ballet II in 1995 and the company in 1998, where she met her husband Christopher Budzynski.
In 2006, Alexa and Chris relocated to Pittsburgh and both joined Pittsburgh Ballet Theatre — Alexa as a member of the corps de ballet and Chris as a soloist. Alexa became a principal dancer in 2009.
“I felt very supported and valued by Pittsburgh Ballet Theatre for the dancer that I was,” she says. “That allowed me to put myself out there more. Because the repertoire was so diverse, it was really food for growth. I certainly have danced roles and worked with choreographers that I never dreamed I would.”
Favorite productions for Alexa from her career include Don Quixote, Giselle, Jean-Christophe Maillot’s Romeo et Juliette, George Balanchine’s Diamonds, Jerome Robbins’ The Concert, William Forsythe’s In the Middle, Somewhat Elevated, Jiří Kylián’s Petite Mort and John Neumeier’s A Streetcar Named Desire, a production that she calls “a seminal moment for PBT.”
“What a wonderful experience it has been to watch Alexa’s journey through this art form,” says Alexa’s husband and PBT School Faculty member Chris. “She has touched many lives and souls as she transcended the boundaries of the technique.”
Of her final performance in Swan Lake this May, Alexa says she is thankful for the technically difficult, physically demanding nature of the role of Odette-Odile. “The technique takes my mind off the emotional aspect of retiring because I focus on the work,” Alexa says. “I’m a big dramatic enthusiast, so it’s always nice when I get to die at the end of a ballet,” she adds.
After retiring, Alexa says there are many new possibilities on the horizon that she looks forward to, including teaching dance, writing fiction — an endeavor she began investigating during the pandemic — and lots of travel and camping trips in the mix.
“Throughout my career, I feel like PBT has preserved a familial ethos. I’m really glad to have been a part of it,” Alexa says.
Audiences can see Alexa’s final performances with Pittsburgh Ballet Theatre at Swan Lake with the PBT Orchestra, running May 6 – 15 at the Benedum Center. Her retirement will be recognized at her final performance on Saturday, May 14 at 7:30 p.m.
