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Announcing Casting for The Nutcracker
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.
Casting for Season Premiere is Announced!
Casting has been announced for our Season Premiere with the PBT Orchestra, featuring four distinct works that capture the essence and evolution of the art form – echoing voices of four internationally-acclaimed choreographers.
Get your tickets today and join us for PBT’s triumphant return to the Benedum!
Casting for Season Premiere with the PBT Orchestra
Learn about our company dancers and read their bios here.
Petal
Choreography and Concept: Helen Pickett
Music: Philip Glass, Thomas Montgomery Newman
Friday and Saturday, October 22 & 23 – 7:30 p.m.
Jessica McCann, Grace Rookstool, Victoria Watford, Diana Yohe
Corey Bourbonniere, Lucius Kirst, William Moore, Yoshiaki Nakano
Sunday, October 24 – 2 p.m.
Marisa Grywalski, Tommie Kesten, Jessica McCann, Gabrielle Thurlow
Sam DerGregorian, Masahiro Haneji, Josiah Kauffman, Kurtis Sprowls
Grand Pas Classique
Choreography: Victor Gsovsky
Music: Daniel-Francois Auber
Friday and Sunday, October 22 & 24 – 7:30 p.m. & 2 p.m.
Amanda Cochrane and Yoshiaki Nakano
Saturday, October 23 – 7:30pm
Gabrielle Thurlow and Masahiro Haneji
Through the Window
Choreography: Jennifer Archibald
Music: Uno Helmersson, Frans Bak, Tokio Myers, Peter Gregson
Friday and Saturday, October 22 & 23 – 7:30 p.m.
Amanda Morgan, Jessica McCann, JoAnna Schmidt, Victoria Watford, Diana Yohe
Corey Bourbonniere, Masahiro Haneji, Josiah Kauffman, Kurtis Sprowls, Cooper Verona
Sunday, October 24 – 2 p.m.
Erin Casale, Tommie Kesten, Alexandra Kochis, Grace Rookstool, Gabrielle Thurlow
Jonathan Breight, Lucius Kirst, William Moore, Yoshiaki Nakano, Joseph Parr
Diamonds
Choreography: George Balanchine
Music: P. I. Tchaikovsky
Friday and Saturday, October 22 & 23 – 7:30 p.m.
Marisa Grywalski, Lucius Kirst
Sunday, October 24 – 2:00 p.m.
Alexandra Kochis, William Moore
Jessica McCann
JoAnna Schmidt
Gabrielle Thurlow 10/22 & 10/23, Marisa Grywalski 10/24
Diana Yohe
Corey Bourbonniere
Masahiro Haneji
William Moore 10/22 & 23, Lucius Kirst 10/24
Joseph Parr
Erin Casale
Elizabeth Devanney
Christian Garcia Campos
Madeline Gradle
Kara Hunter
Corabelle Kennedy
Tommie Kesten
Caitlyn Mendicino
Amanda Morgan
Grace Rookstool
Victoria Watford
Andres Angel
Nathan Bender
Jonathan Breight
Sam DerGregorian
Jack Hawn
Jesse Joiner
Josiah Kauffman
Jacob Miller
Colin McCaslin
Luke Mosher
Kurtis Sprowls
Cooper Verona
Four Dancers Awarded Apprenticeships to Join Pittsburgh Ballet Theatre
Pittsburgh Ballet Theatre (PBT) Artistic Director Susan Jaffe has awarded paid apprenticeship positions to four young dancers as part of PBT’s new apprenticeship program for the upcoming 2021-2022 Season. Elizabeth Devanney, Sujanya Dhillon, Madeline Gradle and Jacob Patrick Miller will receive access to academic programs through university partnerships along with performance opportunities with the PBT company. Apprenticeship positions have been made possible through a generous gift from Hans and Leslie Fleischner.
“We received hundreds of applications from young dancers around the country,” Jaffe said, “and I truly believe these four have exceptional talent. I’m thrilled to have them join our team.”
Devanney, Dhillon and Miller were chosen from among virtual applications. Gradle is a student in Pittsburgh Ballet Theatre School’s (PBT School) graduate program.
In addition to attending company class and rehearsals with PBT, apprentices will be able to continue their academic education through partnerships with Seton Hill University, Community College of Allegheny County and Chatham University. Apprentices will be offered the opportunity to take courses toward certifications, like entrepreneurship and exercise science, that can be applied to a degree.
Apprentices will start their positions with PBT in the 2021-2022 Season. A fifth apprentice will be chosen from among PBT School’s summer program students.
About the Apprentices
Elizabeth Devanney
Liz Devanney, of Bel Air, Maryland, began her training with Dance Conservatory of Maryland and continued with University of North Carolina School of the Arts (UNCSA.) After graduating from high school in 2019, she was invited to join the professional division at Pacific Northwest Ballet (PNB). She has attended summer programs at Pacific Northwest Ballet, Carolina Ballet, Boston Ballet SDP, School of American Ballet, and Next Generation Ballet. In 2020, she was selected for the Royal Danish Ballet – PNB Exchange Program and was one of 25 young dancers awarded a scholarship from the American Friends of the Paris Opera & Ballet to support her continued training. Her repertoire includes Kent Stowell’s Cinderella, Ethan Steifel’s The Nutcracker, Susan Jaffe’s Carmina Terra, Helen Pickett’s Petal, Kingdom of the Shade’s from Natalia Makarova’s La Bayadére and George Balanchine’s The Nutcracker, Concerto Barocco and Serenade.
Sujanya Dhillon
Sujanya Dhillon, from Vancouver, Canada, has trained with Goh Ballet Academy, Miami City Ballet School and San Francisco Ballet School and has attended summer programs at all three. She received First Place Scholarships from Coastal Capital Savings and Affinity Dance in 2017, was awarded the Shakti Award for Artistic Achievement in 2019, and received the British Columbia Arts Council Grant in both 2018 and 2020. She also received a Young Artists Relief Fund grant from The American Friends of the Paris Opera & Ballet in 2020, created to support artists during the times of COVID-19. Her repertoire includes excerpts from La Bayadére, Don Quixote and George Balanchine’s Coppélia, as well as Goh Ballet Academy’s Four Seasons, Peter and the Wolf and The Nutcracker.
Madeline Gradle
Madeline Gradle, of Falls Church, Virginia, joins Pittsburgh Ballet Theatre from the PBT School Graduate Program. She 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 Pittsburgh Ballet Theatre 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 and Community Divisions.
Jacob Patrick Miller
Jacob Miller began his ballet training at Northeast Dance Center in Lawrence,Massachusetts. He left home to continue his training at the University of North Carolina School of the Arts (UNSCA) in 2016, where he was awarded the Gillian Murphy Scholarship. After receiving his high school diploma in dance, Miller stayed at UNCSA for college and is currently working toward his BFA in Dance Performance. While at school, Miller worked with many renowned choreographers, such as Goyo Montero, Aszure Barton and Susan Jaffe. He has also performed principal roles in classical and neoclassical ballets, such as Marius Petipa’s The Sleeping Beauty and George Balanchine’s Concerto Barocco. Miller is thrilled to join Pittsburgh Ballet Theatre as an apprentice after graduation!
Connecting in New Ways in the Time of COVID-19
Since March 2020, Pittsburgh Ballet Theatre (PBT) School has transformed ballet learning into a virtual experience. Home Zoom classes became the norm for the end of the 2019-2020 school year, and continued into the fall even as studios reopened with limited capacity. During the pandemic, PBT School Instructor Jamie Erin Murphy seized the opportunity in remote learning as a chance to connect PBT School Pre-professional students (ages 13+) to a rich array of local artists and teachers.
In September 2020, Murphy created the Pittsburgh Connections Class Series, calling on the relationships she forged in her career as a modern, contemporary and jazz instructor for PBT School, accessibility program instructor for PBT’s education department, and freelance artist in the Pittsburgh dance community. Each Saturday, Pre-professional students – who spent most of their week in the studio – were digitally introduced to one of 18 guest teachers and artists, ranging in style from contemporary ballet and jazz to West African, Latin ballroom and Indian Kathak.
Guest artists slowdanger, a multidisciplinary performance entity co-founded by Anna Thompson and Taylor Knight, feel that exposure to diversified styles of dance is vital to the learning experience – especially within a ballet-focused curriculum.
“Codified dance training focused on Western forms of dance can often view or categorize embodied experiences through a hierarchical lens,” they said. “As we continue to examine how our worlds must be reoriented towards more equitable change, this series provided young dancers with a broad range of moving experiences. This is essential in setting young dancers up for the many possibilities that are currently unfolding within the dance field.”
“The breadth and depth of what other dance forms have to offer can be so enriching and expansive to one’s ballet training and to the formation of one’s burgeoning artistic voice,” added Former PBT Principal Julia Erickson. “Even if these students go on to join classical ballet companies, they will absolutely utilize these skills as they dance myriad styles within the scope of a modern day ballet company repertory.”
While learning new ideas and dance styles, students and teachers were also exploring what it meant to be physically apart. Despite the distance, guest artist Gia Cacalano still felt like connections were strong. Cacalano, a movement and visual artist, choreographer, instant composer, educator and performer, presented a unique class exploring a keener sensory awareness using proprioception, interoception and experiential anatomy.
“It was an honor to connect with the students and be challenged within the ‘limitations’ of our current situation in distance,” Cacalano said. “Our greatest opportunities to invent, evolve, explore and create derive from the challenges and perceived obstacles in which to problem solve.”
Shannon Murphy, a dance artist and educator living in Philadelphia, also used her class to connect the students to their body. Shannon is a certified practitioner of the Franklin Method, a somatic practice that combines Dynamic Neuro-cognitive Imagery™, functional anatomy and movement practices – and she’s Jamie Erin Murphy’s sister. Her class utilized the constraints of learning remotely by focusing on slowing down, noticing bodily sensations and sharing experiences. After a COVID-influenced year, it helped to relieve stress, take a break from the screens and focus inwardly in the moment.
“A career in dance has surprises and opportunities that change our lives just as much as the disappointments that make us question everything,” Shannon said. “Today’s dancer is a dancer that responds to the stresses of life, that takes care of themselves as much as they care for the dancer next to them, and can still see and feel the magic of dance. I hope that we can reflect on this past year from the future and understand that this did not ruin us but gave us skills to adapt, heal and thrive.”
“I think it’s important for not only the students to be able to learn from [the guest artists],” Jamie Erin Murphy said, “but also the staff and the organization can learn and grow from these different artists explaining their backgrounds and what we don’t know about what they do and what’s happening in Pittsburgh.”
Guest artist Naina Green, founding director of Courtyard Dancers of Pittsburgh, connected to PBT staff and faculty as well as PBT School students. She shared the history and future of Kathak dance around the world and in Pittsburgh through a virtual lunch and learn hosted by the PBT Equity Project Transformation Team, which strives to discuss and implement Inclusion, Diversity, Equity and Accessibility (IDEA) practices into the organization.
Katrina Chen, a 16-year-old Level 8 student from San Francisco, recognized the unique opportunity learning from Pittsburgh Connections Class Series guest teachers and artists.
“Not only does learning from a different dancer enhance one’s personal repertoire,” Chen said, “but learning the deep rooted culture that is embedded within the dance form is a way of honoring and passing down the tradition through dance. I am more intrigued with the sharing of cultural experiences through dance as a way to educate myself on another’s culture. The more we as a community can respect each other’s differences, the more we are able to unite as a society.”
In addition to learning different styles of dance, Murphy hoped the series would bring greater awareness to the dance scene outside of the PBT bubble. PBT School is eager to make the Pittsburgh Connections Class Series a Pre-professional tradition – a milestone for PBT School students in the Student Division to look forward to as they become Pre-professionals.
The series serves as a connection between students and teachers, staff and artists, and PBT and the community. Guest artists, such as Shanna Simons Dance collaborators Shanna Simons and Brady Sanders, and Michele de la Reza of Attack Theatre, will be part of Open Air: A Series in Celebration of the Performing Arts, a two-week outdoor series featuring more than 20 local performing arts organizations.
After a year of darkened theaters, supporting Pittsburgh’s performing arts community is more crucial than ever.
“It is getting the awareness out for our dance community that has struggled in the last year,” Murphy said. “We don’t have performances. If we get more awareness of what is happening with smaller companies or independent artists in the city, that’s huge for the dance community here. That’s one new face in an audience and or watching an online performance.”
Q&A – The Students’ Experience
Why is it important for you as a student to learn from dancers of different voices, styles and cultures?
Taking classes in such a wide selection of styles has the power to develop students’ ballet dancing. Different teachers may have a new way of explaining an idea that didn’t make sense before, make you think about your dancing in a new way, challenge you to really examine your relationship with the space around you. Every Pittsburgh Connections Class I attended, I was amazed at how each teacher brought something new to the table; every class added a new element to my dancing as well as myself as a person.
– Amelia Bandy, PBT School Level 6 student from the Greater Pittsburgh Area
Why do you think this type of learning and networking experience is important for ballet-focused students?
Ballet-focused students are usually very keen on becoming professional ballet dancers specifically. For some, this path is perfect. But, even among the small community of Pre-professional dancers, many will go into companies or performances that are not strictly ballet. It is important for these students to be exposed to other styles and artists in their area that can help expand their interest and artistic palette for non-classical styles. This way the students can start interacting with outside influences early on and enter other artistic communities in their area. They can then take part in educational opportunities and watch performances in other styles that they might end up auditioning for and performing in later in their careers.
– Caterina Baker, PBT School Level 8 student from Rochester, NY
Did you find connections with different dance styles throughout the series that you hadn’t experienced before?
Yes. I have definitely found many styles of dance that I enjoyed very much doing that I had never done before, like commercial jazz/musical theatre, learning how to move my body and help it heal if it’s sore, and improv class. These were some of my favorite classes that we learned, because they all taught me something that really interested me.
– Brady Allen, PBT School Level 8 student from Pleasantville, NY
Guest Artists Involved:
Chrisala Brown
Gia Cacalano
Michia Carmack
Kaitlin Dann
Michele de la Reza
Julia Erickson
Naina Green
Madeline Kendall
Kiki Lucas
James Washington Manning
Jamie Erin Murphy
Shannon Murphy
Pearlann Porter
Mario Quinn
Brady Sanders
Shana Simmons
Rozana Sweeney
Anna Thompson/Taylor Knight
The Profound Impact of a PBT School Scholarship
Meet Kaila Lewis!
If you’ve followed Pittsburgh Ballet Theatre School on social media over the past year, you’ve witnessed the evolution of dance instruction from studios to screens and back again. Here PBT School’s Children’s Division Coordinator Kaila Lewis talks about her history at PBT and what it’s been like to teach ballet fundamentals virtually.
Q: What ignited your passion for ballet?
A: My parents enrolled me in ballet classes when I was two years old, because I was not old enough for preschool at the time. I immediately fell in love with it and have fond memories of performing from a young age.
Q: Even with a mask on, your face is a familiar one at Pittsburgh Ballet Theatre. How has your journey unfolded here?
A: I’ve actually been involved with PBT School for almost 23 years, and it all started because of a scholarship. I began as a student in 1998 and started assisting younger classes while training in the Grad program. Every year, I gained more experience which led to more responsibilities. I’ve been a full-time faculty member since 2017.
Q: What do you teach now?
A: I teach the majority of the Children’s Division classes from Grown-Up and Me through our Pre-Ballet 6 and Ballet Foundations classes. I also teach the Preparatory level and Levels 1, 2 and 3 in the Student Division.
Q: You must love your job. What’s your favorite part?
A: My favorite part of teaching ballet, especially to the younger dancers is getting to create the magic. Ballet can be so magical, and the early years are so important to be able to put the love for the art form in motion.
Q: This time last year, the faculty and staff at PBT School were faced with major challenges. What was that like?
A: I started with making videos for all of the levels in March 2020, and by April we started Zoom classes. It was so refreshing to get to see my students’ faces. I think that during an uncertain time, keeping up with their ballet training gave the students a sense of normalcy as well as a movement and creative outlet. It certainly is not easy but I am proud of how the school has kept going and how the students have remained committed.
Q: It must have been so nice to see your students, but that comes at a cost that many can’t afford, especially during times like this. Gratefully, PBT offers donor-funded scholarships to students in Levels 6 and above so that they can continue to pursue their dreams. Why would you encourage someone to contribute to scholarships?
A: Ballet promotes structure, discipline and passion. And while not all of my students will have the same path as me, I believe that it sets children up for success in all areas. It is usually evident during their school years because of how they learn to manage their time between school and ballet. They also tend to do well in school because they have been trained to work hard, accept constructive criticism and be attentive. I think these skills carry with them into college and even into their future careers. From training to performance opportunities, PBT can make a significant impact on a young dancer’s life.
Last season, PBT was able to offer scholarships to 174 students with demonstrated need. Can our families count on your support so that our students are able to continue exploring their talent this year and for years to come?
Announcing the Cast of PBT’s Fireside Nutcracker!
This year, the magic of PBT’s The Nutcracker is coming to you streaming for the first time ever! See Marie, the Nutcracker, the Sugar Plum Fairy and all your favorite Nutcracker characters like never before.
Meet the Cast
Diana Yohe & Joseph Parr as Marie and the Nephew/Nutcracker
Gabrielle Thurlow & William Moore as the Snow Queen and Snow King
Jessica McCann & Yoshiaki Nakano as the Sugar Plum Fairy and her Cavalier
See complete casting here!
Register to watch PBT’s Fireside Nutcracker at no cost from Dec.17-31 and take a peek behind the scenes of the production with our photo gallery!
Pittsburgh Ballet Theatre Announces Changes to Remainder of 2020-2021 Season
In response to ongoing public health guidance and regulations on indoor assembly, Pittsburgh Ballet Theatre (PBT) will not return to the theater for the remainder of its 2020-2021 Season. Performances impacted by this decision include performances of “Cinderella” with the PBT Orchestra (Feb. 12-14, 2021), BNY Mellon presents “Here + Now” (April 8-11, 2021), “Modern Masters (April 15-18, 2021) and “Alice in Wonderland” (May 7-16, 2021).
Building on the success of PBT’s inaugural Open Air Series performances in September, the company will present an Open Air Series in Spring 2021 for subscribers and the public. Programming for the spring Open Air Series will include excerpts from “The Sleeping Beauty,” “La Bayadère,” “Le Corsaire” and “Don Quixote,” as well as works choreographed by Helen Pickett, Gina Patterson, Annabelle Ochoa Lopez, Sasha Janes and PBT Artistic Director Susan Jaffe. Exact dates and location are still to be announced. Tickets will be put on sale this spring.
“Thanks to generous funding from the Richard King Mellon Foundation, Edith L. Trees Charitable Trust and the Jack Buncher Foundation,” PBT Executive Director Harris Ferris said, “PBT successfully piloted the Open Air Series in early September. This new series, structured around a mobile performing arts venue, revived in-person performances and brought the community together to celebrate the arts. PBT partnered with other arts and culture organizations in Pittsburgh to connect with our audiences in new and unique ways. The Open Air Series will reemerge this spring as a festival with more performances and opportunities to experience the arts outdoors.
Ticket Information & FAQ
Subscribers and ticket holders will receive an email from the PBT patron services team outlining several options for their tickets, including the option to retain their ticket money on account to use for Open Air performances or other PBT events in the future. Ticket holders and subscribers may also donate the cost of their tickets to PBT’s Keep Us Dancing appeal or request a refund.
For frequently asked questions regarding ticket options and subscriptions, click here.
“Fireside Nutcracker” & Upcoming Events
PBT will premier a virtual adaptation of its annual holiday tradition, “The Nutcracker,” on Dec. 17, 2020. “Fireside Nutcracker” brings the magic of the holiday season to homes across the region and beyond. Thanks to generous support from PBT sponsors, the virtual program will be offered at no cost to the public through Dec. 31. PBT’s production of “Fireside Nutcracker” is sponsored by Highmark Blue Cross Blue Shield, Giant Eagle and Clearview Federal Credit Union.
The virtual run of “Fireside Nutcracker” will kick off with a special opening night event on Dec. 17, underwritten by UPMC and UPMC Health Plan, sponsored by Carol Hefren Tillotson and Steffie Bozic, with additional support from Hefren-Tillotson, Highmark Blue Cross Blue Shield and Seton Hill University.
Throughout the month of December, PBT will also offer more than a dozen “Nutcracker”-themed virtual education programs for $5 each. For more information and to register for access to the film, visit pbt.org/nutcracker.
The mission of Pittsburgh Ballet Theatre is to be Pittsburgh’s source and ambassador for extraordinary ballet experiences. While traditional performances are a challenge right now, PBT is dedicated to fulfilling that mission and connecting audiences to the art form. The company is currently exploring every avenue to be able to deliver world-class ballet to the region and beyond. PBT is planning an array of in-person events and online programs, including exclusive behind-the-scenes content and educational programming, beginning in the new year. Check pbt.org for the latest updates and offerings.
A Message from PBT’s New Artistic Director
Hello, Pittsburgh! Last month, Pittsburgh Ballet Theatre made a small but triumphant return to live performances outside at our Strip District studios, and I had the honor of introducing our company dancers on stage as the new artistic director. What a humbling and emotional experience. One word best describes how I got here – serendipity.
As some of you may already know, former Artistic Director Terrence S. Orr was a mentor of mine when he was a rehearsal coach at American Ballet Theatre. What you may not know is that his guidance influenced not only the trajectory of my career, but also how I approached performing.
I recall it so well. I was standing backstage before a performance, visibly nervous. Upon noticing, Terrence approached me and asked, “Have you heard what golfers do? They see the hole-in-one before they take the stroke.“
That wisdom prompted me to learn how to retrain my mind and visualize my performances going well. This idea was life-changing! A positive mindset is crucial, especially during times of challenge and adversity.
Maintaining positivity resonates now more than ever.
The more I get to know the dancers of PBT and the people who hold them in such high esteem, the easier I can visualize us rising from these challenging times even stronger than before.
As evident in our recent television broadcast at Hartwood Acres and at our Open Air Series, our dancers are hungry to move their bodies freely again and perform for more intimate audiences this fall. We’re also lucky to have an industrious and talented staff working behind the scenes to deliver the kind of creativity and energy that only arts organizations can provide.
The key to our success now lies with you, our patrons. I am inspired by your Pittsburgh pride and loyalty to PBT, and I look forward to seeing how our company, school and community partnerships can transform. With your support, the possibilities to keep us dancing are limitless.
Whether it be outside in your neighborhood, at our Strip District campus or at the Benedum Center, I look forward to sharing the beauty of ballet with you this season!
On behalf of all of us at PBT, we thank you for all you do.
Warmly,
Susan Jaffe
Pittsburgh Ballet Theatre Announces Changes to 2020-2021 Fall Season; Alternative Programming
In response to public health guidance and restrictions on public assembly due to the ongoing COVID-19 pandemic, Pittsburgh Ballet Theatre (PBT) will present an updated 2020-2021 Season, beginning Sept. 10 with a series of outdoor performances at PBT Studios in the Strip District.
PBT’s performances of “Balanchine + Tchaikovsky” and “The Nutcracker” will not take place at the Benedum Center as scheduled. In lieu of traditional theater performances, PBT will offer ticket holders to “Balanchine + Tchaikovsky” a socially distanced, outdoor ballet experience presented PBT’s new mobile performing arts venue at PBT’s Strip District campus. PBT is exploring options to reimagine “The Nutcracker” for audiences in December. Programs scheduled for 2021 remain unchanged.
“While this isn’t the season we had planned, we’re thrilled to be able to connect with our audience outdoors and online,” Artistic Director Susan Jaffe, who took the helm of the company at the height of the pandemic in July, said. “It’s our mission to provide Pittsburgh with extraordinary ballet experiences, and the adaptability and creativity of our company and staff makes that possible, even within the limitations of a COVID-19 world.”
PBT is also exploring options for an additional performance in the fall and more opportunities to make use of the mobile performing arts venue throughout the year.
Open Air Series & Mobile Performing Arts Venue
On Sept. 10-14, PBT will launch its Open Air Series at PBT, an outdoor performing arts series at PBT Studios. The parking lot of PBT’s Strip District campus will be converted into a performance space with socially distanced audience seating and performances on PBT’s new Stageline SAM450 mobile performing arts venue.
“Pittsburgh Ballet Theatre is thrilled to move forward with the purchase of the Stageline SAM450 mobile stage with 85 percent of the funds raised,” Executive Director Harris Ferris said, “and we are encouraged by strong interest from additional partners to complete the funding. Major gifts received so far are from the Richard King Mellon Foundation, the Edith L. Trees Charitable Trust and the Jack Buncher Foundation. With the SAM450 capable of mounting full-scale ballet, opera, symphony, and all manner of performing arts productions, it provides a solution in the current pandemic and a window to the future. We are looking toward a future of performing arts that engages people in their own communities, expanding our reach and increasing access to the arts for audiences throughout the region.”
Patrons with tickets to “Balanchine + Tchaikovsky” will be offered the option to use their tickets to attend a mixed-repertory production held for a small, socially distanced audience. These PBT performances will not be open to the broader public, but the ballet intends to use the mobile performing arts venue and the Open Air Series to continue to connect audiences to the performing arts through outdoor events throughout the region.
For the Open Air Series inaugural performances, safety protocols such as mandatory masks, socially distanced seating, digital playbills and limited access to the PBT building will be enforced during performances.
In addition to PBT, several other arts organizations in Pittsburgh will host performances during the Open Air Series from Sept. 10-14. Pittsburgh CLO will present solo performances featuring students from the CLO Academy Professional Development Program on Sept. 12. The Pittsburgh Symphony Orchestra will perform a concert of popular classical works performed by ensembles of its musicians on Sept. 13. Also on Sept. 13, Pittsburgh Opera will present a short program that Sunday evening, with details to follow. The August Wilson African American Cultural Center will present live jazz with the Jevon Rushton Group and special guests on Sept. 14. Details about these performances and ticket information will be available soon on each organization’s website.
PBT’s performance will include performances of excerpts from “Coppelia,” “Swan Lake,” “Who Cares?,” “The Sleeping Beauty” and more.
“The Nutcracker” Experience
The magic of “The Nutcracker” will be transformed in December 2020 when PBT presents a reimagined “Nutcracker” experience. The reimagining, which will include educational programs and special at-home offerings, will be available to existing “Nutcracker” ticket holders and the public. Details about PBT’s “Nutcracker” experience will be announced this fall.
PBT School Reopening
Pittsburgh Ballet Theatre School will welcome students back to the studios this fall with in-person, online and hybrid programs. PBT School programming has been entirely virtual since the building closed in March. Beginning in September, after three weeks of remote learning, PBT School students of all levels will have options for in-person, virtual or hybrid programs. Safety protocols, including limited class sizes, enforced social distancing and limited time spent in the building will be part of PBT School’s reopening.
For more information on PBT School’s fall programs, visit the PBT School webpage here.
Ticket Information & FAQ
Subscribers and ticket holders to performances of “Balanchine + Tchaikovsky” and “The Nutcracker” will receive an email from PBT patron services outlining several options for tickets. Patrons with tickets to “Balanchine + Tchaikovsky” will have the opportunity to use their ticket to attend the Open Air Series, request a refund, save their ticket for a future PBT performance or donate the cost of the ticket to PBT.
Subscribers and ticket holders with tickets to “The Nutcracker” will be contacted in the coming weeks with options for their ticket and details about PBT’s reimagined “Nutcracker” experience.
For frequently asked questions regarding ticket options and subscriptions, please visit PBT’s website.
A Conversation with Pittsburgh Ballet Theatre School Alumna Amy Herchenroether
Pittsburgh native Amy Herchenroether began training with Pittsburgh Ballet Theatre School in the late 1990’s in Creative Movement classes, eventually working her way up to the full time high school program. After attending the Boston Ballet School Trainee program for 2 years, she returned to PBT School as a Graduate student before being hired into St. Louis Ballet. Experiences such as performing The Nutcracker onstage with PBT company and training a variety of dance forms in the School helped to prepare her for the repertoire and roles she performed in her professional career.
PBT School caught up with Amy about her experiences as a student at PBT and as a professional at St. Louis Ballet. Listen to the interview below!
What I really appreciated about my training at PBT was just how well rounded it is. I think I see that now looking back, even more than when I was a student. You get a really strong classical ballet training, but you’re also exposed to contemporary, jazz and character, plus Pilates, conditioning. Looking back, I think the training is just unbelievable.
Cover Photo by Pratt Kreidich Photography
A Conversation with Pittsburgh Ballet Theatre School Alumna Rachel Foster
Rachel Foster began her dance journey with Pittsburgh Ballet Theatre School at the age of 12. Over the years, she worked hard to advance through the levels of the school and eventually was hired into the professional company by former PBT Artistic Director Patricia Wilde. After a couple seasons at PBT, she accepted a position with Pacific Northwest Ballet where she rose to the rank of principal dancer and remained for the rest of her 22 year professional career. Rachel attributes much of her strength as a dancer to her training with PBT School.
PBT School recently caught up with Rachel, now settling into her new role as a teacher, about her experiences throughout her career and how her training at PBT influenced them. Listen to the conversation below!
I feel like a lot of my experience with the school, with having such a well rounded training, was what really helped me. When I first went to Pacific Northwest Ballet [contemporary] was something new that they started to bring in and I feel like I had experience in that that others didn’t.
Cover Photo by Angela Sterling
A Conversation with Pittsburgh Ballet Theatre School Alumnus James Gilmer
James Gilmer has lived in many cities across the United States throughout his ballet career, but it all began in Pittsburgh. Beginning at the age of eight, James trained with Pittsburgh Ballet Theatre School until he graduated at 18. Since then, James has been taking the lessons he learned from the School, such as young mens classes with Alan Obuzor and Pre-professional classes with Janet Popeleski, to make his mark in professional companies.
PBT School recently caught up with James, now a dancer with Alvin Ailey American Dance Theatre, about his experiences at PBT and the career that followed. Listen to the conversation below!
I’ve always praised the instruction and the technique that I gained [at Pittsburgh Ballet Theatre School]. I think back on that stuff all the time whenever I’m in a professional setting. Even if it just takes a little minute to adjust something it’s like, oh wow, I’ve been thinking about that particular thing for years because of somebody at Pittsburgh Ballet Theatre School.
Cover Photo by Steven Vandervelden
A Conversation with Pittsburgh Ballet Theatre School Alumna Elenora Morris
Pittsburgh native Elenora Morris began her training with PBT School in 2003 as a Level 1 student and honed her skills over 10 years in the School, graduating as a full-time high school student in 2013. Her decade at PBT helped shape her career, through yearly Nutcracker performances, themed modern classes with PBT faculty and advice that sticks with her to this day – “if you think your knee is straight, think again!”
PBT School recently spoke to Elenora, now a dancer with the Royal Danish Ballet in Copenhagen, about her career and her time at PBT. See the interview below!
Wherever I go, I’m grateful for the great training and performing experience I got right in my hometown at PBT, and I always look forward to popping into the studio when I’m home and reconnecting with everyone.
Cover Photos by Natascha Rydvald and Franz Siegert
A Statement on Justice from Pittsburgh Ballet Theatre
Criminal acts of violence, like those that killed George Floyd, Breonna Taylor, Ahmaud Arbery and Rayshard Brooks, highlight the insidious illness of racism in America. These are not isolated incidents. They are a gruesome reminder of the hate, discrimination and injustice that exists in our nation today.
Pittsburgh Ballet Theatre embraces diversity in our organization and stands in solidarity with Black artists, students, donors, board members, patrons, friends, neighbors and the entire Black community in the fight for equality. Black lives do matter.
We are renewing our commitment to the pursuit of racial justice and equity. The work before us is crucial and PBT stands accountable to our local communities of color and to the international dance community to do this work. We dedicate ourselves to fostering an inspiring, accessible and equitable environment that embraces and gives voice to individuals of all backgrounds, races and life experiences.
Actions
As a member of the national Equity Project, PBT is committed to the advancement of racial equity in our company, our school and our entire organization. PBT’s Equity Transformation Team is finalizing a five-year plan of action to improve racial diversity and equity throughout PBT. We will continue to provide updates in the weeks, months and years to come. Below is a brief summary of some key initiatives:
- Programming – PBT pledges to further highlight the art and voices of dancers and choreographers of color. Our partnership with the August Wilson African American Cultural Center has always been a centerpiece of our seasons, and we will continue to foster this ongoing commitment to presenting culturally relevant work at the AWAACC. BNY Mellon presents Here + Now, originally scheduled for March 2020 and rescheduled for April 2021, features the works of three Black choreographers, including PBT Artist in Residence Staycee Pearl, sponsored by Arts, Equity & Education Fund.
- On Stage – The art we present on stage should be a reflection of the community we serve. Through long-term artistic planning and a focus on inclusivity in our company and choreography, we will bring to the stage works that embody the passion and diversity of Pittsburgh.
- Hiring and Recruitment – PBT will complete an overhaul of recruitment and hiring policies for administrative staff, artists and board members in the interest of increased equity, diversity and inclusion.
- Training of Young Dancers – PBT School’s Community Youth Scholarship, now in its seventh year, builds a pathway to training, performing and participation early in a student’s ballet education, and is renewed annually to support ambitious students through the entire PBT School program.
- Dialogue – PBT’s Equity Transformation Team is now meeting weekly for open discussions around our responsibility to our community and our art form, with over 75 PBT artists, staff, teachers and board members in attendance. The team has renewed our commitment to equity, diversity and inclusion in all facets of the organization.
- Organizational Training – PBT artists, faculty and staff will participate in several organization-wide diversity, inclusion and antiracism sessions each year. The first of these sessions occurred in March, with a second planned with local experts for late June.
- Community Engagement – PBT is committed to increasing the reach and impact of our education programs in the community, introducing students in the Pittsburgh area to the joy and self-expression of dance. To connect students in PBT’s community programs with PBT School, we will be introducing the Bridges program, intended to “bridge” participation in PBT’s community classes to enrollment at PBT School and further dance training.
- Public Spaces & Promotional Materials – PBT will prioritize inclusivity in our public spaces – such as the lobby and parent waiting areas of PBT Studios – through artwork that reflects our diverse organization and community and greater efforts by staff to ensure students and families of all backgrounds feel welcome. We will incorporate the same inclusion into our marketing materials, choosing photos and words that echo this commitment to creating an environment that values diversity.
Resources
- MoBBallet – an organization dedicated to preserving, presenting and promoting the contributions and stories of Black artists in ballet.
- From VISITPittsburgh, a list of Black-owned businesses in Pittsburgh to support. There are many more not mentioned on this list that you can find by searching the Cocoapraeneur database.
- The State of Black Pittsburgh 2019 – a panel conversation aired by WQED featuring PBT Company Dancer Victoria Watford.
- A list of additional educational antiracism resources.
We acknowledge the difficulty of the work to be done to dismantle racial inequity in dance and to uphold the values of equity, diversity and inclusion for all. We are committed to doing that work and keeping the conversation around diversity, equity and inclusion open. The arts have always provided a pathway for change, expression and self-actualization. Art is not a distraction from the message of justice; it is an integral part of what moves and heals the world. We embrace this responsibility as we examine and expand our own role to advance racial equality in society.
Announcing Updates to PBT’s 2020-2021 Season & Three Company Promotions!
Pittsburgh Ballet Theatre (PBT) has announced updates to its upcoming 2020-2021 Season in response to programs rescheduled due to the coronavirus (COVID-19) crisis that forced the closure of non-essential businesses, including PBT and the Cultural Trust venues in which the company performs.
In March, PBT announced the postponement of BNY Mellon presents Here + Now, a mixed-repertory production featuring works by Pittsburgh-native Kyle Abraham, longtime PBT collaborator Dwight Rhoden, renowned Spanish choreographer Nacho Duato and the world-premier of an original piece by PBT Artist in Residence Staycee Pearl, sponsored by AE&E Fund. Shortly thereafter, the company also postponed its performances of Balanchine + Tchaikovsky with the PBT Orchestra, a program featuring choreography by George Balanchine set to the music of P.I. Tchaikovsky.
Both BNY Mellon presents Here + Now and Balanchine + Tchaikovsky have been incorporated into PBT’s upcoming 2020-2021 Season. The season will now feature a total of six programs, beginning with Balanchine + Tchaikovsky with the PBT Orchestra in October. Cinderella with the PBT Orchestra, originally scheduled as the season opener, has been rescheduled for February, replacing The Merry Widow. BNY Mellon presents Here + Now will be featured at the August Wilson African American Cultural Center in April, alongside the Modern Masters program.
Ticket holders for the two rescheduled programs will be contacted by PBT via email and by phone to discuss options for attending these performances. Patrons who have already subscribed to PBT’s 2020-2021 Season will also be contacted by PBT to discuss options to add the sixth program to their package.
Company Promotions
Artistic Director Terrence S. Orr has also announced the promotion of three corps de ballet dancers to the rank of soloist for Pittsburgh Ballet Theatre’s 2020-2021 Season.
Dancers Tommie Kesten of Pittsburgh; Lucius Kirst of Los Angeles; and Jessica McCann of Los Angeles will begin their first mainstage season as soloists this fall with Balanchine + Tchaikovsky with the PBT Orchestra on stage Oct. 23-25 at the Benedum Center.
About PBT’s Newest Soloists’
Tommie Lin Kesten
Pittsburgh native Tommie Lin Kesten joined Pittsburgh Ballet Theatre in 2018 from PBT’s Graduate Program, where she trained for a year. Tommie was named one of Pointe Magazine’s “Stars of the Corps” in 2019 and Dance Magazine’s “25 to Watch” in 2020. She received her early training from The Ballet Academy of Pittsburgh and Miami City Ballet School, and completed summer intensives at the School of American Ballet, Miami City Ballet and PBT School. Tommie has performed Sugar Plum Fairy in PBT’s The Nutcracker, Bluebird Pas de Deux in The Sleeping Beauty, and Peasant Pas de Deux in Giselle. 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.
Lucius Kirst
A native of Los Angeles, Lucius Kirst joined Pittsburgh Ballet Theatre in 2014. Kirst previously performed with Ballet San Jose as a member of the corps de ballet and was also a member of the Studio Company at American Ballet Theatre. Kirst trained on full scholarship at The Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City, and received his early training at City Ballet School in San Francisco and Marin Ballet in California. He has participated in summer intensive programs at American Ballet Theatre and San Francisco Ballet.
Jessica McCann
Jessica McCann, of Los Angeles, joined Pittsburgh Ballet Theatre in 2015. Her past training includes a year with Alonzo King’s LINES Ballet in San Francisco and American Ballet Theatre in New York, before joining PBT’s Pre-Professional Program in 2013. Since joining the company, McCann was chosen for Pointe Magazine’s top 10 “Stars of the Corps” in 2016. She has performed many featured roles at PBT, including Principal Couple in George Balanchine’s Rubies; the lead in William Forsythe’s In the Middle, Somewhat Elevated; Blue Bird Pas de Deux, Diamond Variation, the Fairy of Abundance and Canary Fairy in Terrence S. Orr’s The Sleeping Beauty; Pas de Trois and Cygnets in Orr’s Swan Lake; Peasant Pas de Duex and Zulma demi soloist in Orr’s Giselle; Anita in West Side Story Suite and the First Girl in Fancy Free by Jerome Robbins; Dwight Rhoden’s Ava Maria; and the Sugar Plum Fairy, Marie, Arabian and Snow Queen in Orr’s The Nutcracker.
Other memorable performances include Jiří Kylián’s Petite Mort, Sechs Tänze and Sinfonietta; the Pas de Duex in Nacho Duato’s Duende; the soloist in Kyle Abraham’s The Quiet Dance; Spring Waters Pas de Deux; the Cook in Derek Deane’s Alice in Wonderland; a Harlot in Derek Deane’s Romeo and Juliet; and an Odalisque in Le Corsaire. McCann has also performed in George Balanchine’s Allegro Brillante, Divertimento No.15 and Western Symphony; Antony Tudor’s Jardin Aux Lilas; Mark Morris’ Sandpaper Ballet; Ben Stevenson’s Dracula; as well as PBT’s La Bayadère, and Lew Christensen’s Beauty and The Beast. For its 2017-2018 main-stage season, PBT commissioned McCann to choreograph a new work, the silver line., which made its world premiere in March 2018. She has also created Amoeba, a new work for Pittsburgh Ballet Theatre School’s Graduate Program that premiered at the School’s end-of-year showcase in 2019.
McCann has done guest performance outside of the U.S. in Japan and Bermuda, where she has both danced and choreographed. She was also asked to judge the World Dream Ballet Competition in Osaka, Japan in 2018.
PBT’s 2020-2021 Season
Balanchine + Tchaikovsky with the PBT Orchestra
Oct. 23-25, 2020 — Benedum Center
Choreography: George Balanchine | Music: P.I. Tchaikovsky
Pittsburgh Ballet Theatre’s storied history with Balanchine and Tchaikovsky is revived in this mixed-repertory production celebrating two of ballet’s greatest contributors. The music of P.I. Tchaikovsky has provided the backbone for many of George Balanchine’s most exquisite ballets, including the invigorating Theme and Variations, the expansive Allegro Brillante and the consummate Tschaikovsky Pas de Deux, set to the classic music of Swan Lake. This program event also features Diamonds, the brilliant third movement of Balanchine’s Jewels.
The Nutcracker
Dec. 4-27, 2020 — Benedum Center
Choreography & Concept: Terrence S. Orr | Music: P.I. Tchaikovsky
The magic of the holiday season fills the Benedum Center stage in The Nutcracker. PBT’s Pittsburgh-inspired production captures the excitement of the original story through five fanciful scenes, over 150 unique costumes and Tchaikovsky’s timeless score. With a rotating cast of dozens of dancers, each performance provides a fresh experience to audiences and artists alike.
Cinderella with the PBT Orchestra
Feb. 12-14, 2021 — Benedum Center
Choreography: Kent Stowell | Music: Sergei Prokofiev
A classic fairy tale is renewed with romance at its core in the Pittsburgh Ballet Theatre premier of Kent Stowell’s Cinderella. Attend the royal ball with Cinderella, her wicked step sisters and her prince as the familiar tale of true love unfolds through grand theatrical scenery, glittering costumes and Prokofiev’s splendid score.
BNY Mellon presents Here + Now ft. Kyle Abraham, Dwight Rhoden, Nacho Duato and PBT Artist in Residence Staycee Pearl, sponsored by AE&E Fund
April 8-11, 2021 — August Wilson African American Cultural Center
In partnership with the August Wilson African American Cultural Center
Choreography & Music: Mixed Repertory
This mixed-repertory production brings together celebrated choreographers to create stunning dance for the here and now in the August Wilson African American Cultural Center. The Quiet Dance, from Pittsburgh native Kyle Abraham, captures the feelings of frustration and isolation through sweeping movement, beginning in silence and then carried by the gentleness of Bill Evans’ arrangement of Bernstein’s Some Other Time. The beloved popular music of Paul Simon sets the stage for Dwight Rhoden’s physical and visceral Simon Said. Finally, local choreographer Staycee Pearl presents the world premier of SKIN + saltwater, a visionary piece created for the PBT Company.
Modern Masters ft. Mark Morris, Nacho Duato and More
April 15-18, 2021 — August Wilson African American Cultural Center
In partnership with the August Wilson African American Cultural Center
Choreography & Music: Mixed Repertory
Pittsburgh Ballet Theatre returns to the August Wilson African American Cultural Center with a mixed-repertory program featuring Mark Morris’ exultant Maelstrom, set to Beethoven’s Ghost Trio. Nacho Duato puts the music of Claude Debussy at the center of his enchanting Duende, fluidly melding the human form and the shape of sound to create a magical landscape. The final piece of the performance will be chosen by PBT’s incoming artistic director, Susan Jaffe.
Alice in Wonderland
May 7-16, 2021 — Benedum Center
Choreography: Derek Deane | Music: P.I. Tchaikovsky, additional music by Carl Davis
Step into a surreal world of outlandish illusion, dreamlike scenery and your favorite Lewis Carroll characters in Derek Deane’s Alice in Wonderland. A whimsical medley of Tchaikovsky’s music provides the perfect backdrop to the madness of deranged tea parties, unhinged games of croquet and extraordinary dance. Don’t miss the madcap ballet the Pittsburgh Post-Gazette calls an “old-fashioned romp through [the] British classic, ripe with an over-the-top music hall flavor.”