The World Premiere of Garrett Smith’s Meet You At Midnight
Acclaimed choreographer Garrett Smith will premiere his newest work, Meet You at Midnight, at Pittsburgh Ballet Theatre’s Spring Mix mixed repertory program taking place April 10-12, 2026 at the August Wilson African American Cultural Center.
Smith was a professional dancer with Houston Ballet, where he became a two-time award recipient of the New York Choreographic Institute Fellowship. He was also named a Presidential Scholar in the Arts, choreographed for the Netflix television series Tiny Pretty Things and his creation Hypnotic Forces was selected by Pointe Magazine as one of the 12 standout performances of 2023.
Smith is known for creating captivating ballets by drawing inspiration from the artists in front of him, crafting tailor-made movements that play to each artist’s strengths and highlight the best in each individual. Themes in his works frequently include human identity and self-reflection.
We sat down with him recently to ask a few questions about his choreography.
Can you share a bit about your creative process?
Usually, starting with a piece of music that I can’t stop listening to is a good start and a good sign for me. I really like this music I found for this piece, and particularly the middle section of the 2nd movement. It is super fun, and it makes me want to dance! After landing on a music selection, I am immediately put into a creative headspace about what is happening on stage in terms of movement and the number of bodies. The music will dictate the mood, the vibe, the choreographic structure, and movement language that I begin to envision.
From there, I begin building a concept, envisioning a color palette, what the dancers are wearing, and what surrounds the space in a design context. I almost never prepare choreography in advance. Usually just a short phrase to get going on day 1. What is important to me is looking at who I have in front of me, because they are the tools and instruments that will execute the ideas. I try to custom-build ideas to the dancer’s strengths. When I partner people together, I try to consider chemistry and how their energy feels together as a pairing. It isn’t always perfect each time, but it is something I try to tap into.
Once we are all in the studio together, that is where the physical work begins. We build, we play, we create, we explore. It is a process of trial and error, listening to the ideas with the music over and over until something nice forms that feels organic and good. Musicality and detail are very important to me, in addition to helping the dancers unleash something artistic and personal of themselves into the work.
How and when do you title your works?
I think it depends on the concept. Sometimes the title comes right away, or very early on, and sometimes it only comes during the process of rehearsal with the dancers. There are times when I am in the studio using descriptive words for specific intentions, etc. I make jokes and play with those words and then tell the dancers, “oh that was actually a title option,” and then sometimes the spontaneity of that playfulness helps me find it. Or maybe I just did it for a laugh. I usually don’t want the title to be too literal. In this case, with this creation, it came during the process.
How do you select the music for your works?
I am ALWAYS listening to music. I have playlists of pieces I am saving that are probably ready to go for the next 5-10 years. Just sitting here cooking away…
What is your favorite part of choreographing?
There are so many things about choreographing that bring me joy. It is a gift to be able to travel the world, make relationships, and meet artists from all kinds of cultures and backgrounds. I really enjoy developing an artist in front of me in the studio and playing to their artistic strengths.
In general, I think I am creative at heart, and I very much enjoy working hands-on with people. I also find it rewarding to see an audience’s reaction to something I have dedicated my time to, and to see how it can move or touch people. It makes me feel like I am doing something worthwhile that matters.
What do you look for when you select dancers for your works?
I look for individuals who also want to explore, who have a sense of creativity and playfulness. The choreography can only become better when they help me generate ideas I offer them and bounce the creativity back and forth with me. What is also very important is attention to detail and that they are committed and invested. I feel very much that the dancers of Pittsburgh Ballet Theatre are invested in this piece. I feel a hunger and excitement from them.
How would you describe your choreographic style?
Packed with movement, very detailed, very physical, a little sensual, exciting yet sensitive.
Where did you draw inspiration for your piece?
Honestly, it has purely been the music that has driven me. The music is BIG and fun. It really makes me want to dance. There are so many fun rhythms and layers within these pieces by Philip Glass.
What choreographers do you look up to?
Jiří Kylián will always be the one for me. He is the reason I moved to Europe. He showed me who I want to be in the room, and how I want to treat people in the space. I am also very inspired by Crystal Pite, Forsythe, David Dawson, Lightfoot Leon, Marcus Marou, Damien Jalet and Alexander Ekman.
Do you have a favorite ballet among all of the ones you choreographed?
If I can choose one, I take “Reveal.” It is very precious to me.
Get a sneak peek of the dancers in the studio
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