History

Pittsburgh Ballet Theatre (PBT) was founded in 1969 as an affiliate of Point Park College under the direction of Artistic Director Nicholas Petrov and Board Chair Loti Falk.

In 1970/71, PBT presented its first subscription season at the Syria Mosque with one performance of Swan Lake and four of The Nutcracker. The inaugural season was a sell-out.

Petrov invited Frederick Franklin to join PBT as Co-Artistic Director in 1974. Under their leadership, PBT continued to grow. PBT became independent from Point Park College in 1977. That same year, Petrov stepped down as Artistic Director. PBT was led briefly by former London Festival Ballet principal dancer John Gilpin who, plagued by health problems, left shortly after taking over. French dancer and choreographer Patrick Frantz was appointed as PBT’s Artistic Director later that year. Frantz began to emphasize contemporary works in the Company’s repertoire and spearheaded the development of the PBT School. Throughout the decade, PBT experienced tremendous growth in subscription sales and community support.

By the early 1980s, PBT was listed among the nation’s largest companies. In June 1982, Patricia Wilde was appointed Artistic Director. A celebrated former principal dancer of the New York City Ballet and one of the world’s foremost classical ballerinas, Wilde brought PBT to new levels of maturity. Her influence carried PBT through continued success for fifteen years. During her tenure, PBT performed many of the classic works, and became known for its brilliant execution of the works of the great George Balanchine. In the 1987/88 season, Loti Falk retired as PBT’s Managing Director and was succeeded by Stephen Richard. Richard was succeeded by Steven Libman in 1991. During the early 1990s, PBT expanded its base of foundation contributors, increased individual donations and experienced high ticket sales.

In 1997, the arrival of Terrence S. Orr, formerly Ballet Master of American Ballet Theatre, and a new strategic alliance with the Heinz Endowments, led PBT to renew its commitment to the creation of new works and building audiences through innovative programming and collaboration. Orr began to introduce new work to Pittsburgh audiences through both co-production with other national ballet companies and by commissioning new contemporary ballets inspired by American music. Through a dedicated campaign, PBT premiered The New Nutcracker in 2002, a $1.2 million production choreographed by Orr and set in turn-of-the-century Pittsburgh.

While PBT enjoyed great artistic success during this period, a structural cash flow deficit plagued the organization. During this period, PBT’s annual budget had grown to nearly $8 million. In June 2004, Libman resigned his position of Managing Director. PBT engaged consultant Thomas B. Harris, a specialist in the field of transition in nonprofit organizations, whose assessment uncovered a structural imbalance of approximately $800,000 per year. PBT’s trustees pared the 2005/06 budget to $6.4 million. Most significant was the decision to perform in 2005/06 to prerecorded music, which stimulated an unfair practices complaint by the Orchestra and picketing at the season opening production of Carmen.

Harris N. Ferris was appointed Executive Director in February 2006. Ferris immediately began to design a turn-around process for the organization. An agreement was reached with the orchestra, allowing PBT to perform two productions for the 2006/07 season to live music. PBT launched a grassroots fundraising campaign entitled Say It With Music and was able to return the orchestra to the pit for two productions of the 2006/07 season. The turn-around strategies were a success. PBT completed two consecutive fiscal years in the black.

PBT’s stabilizing strategies have resulted in a stronger organization that is facing a bright future. With the guidance of strategic planning expert Harold D. Miller, President of Future Strategies, PBT completed a three-year, comprehensive strategic business plan in the fall of 2007. The balance between the dynamic juxtaposition of artistic and financial objectives is the centerpiece of the organization’s strategic outlook for the future.

Pittsburgh Ballet Theatre History Timeline

• 1969

  Pittsburgh Ballet Theatre is incorporated in affiliation with Point Park College. Mr. Nicholas Petrov is the founding Artistic Director and Mrs. Loti Falk is the founding Board Chair.

• 1970

  PBT offers its first subscription season.

• 1971

  Main stage productions begin at Heinz Hall.

• 1973

  PBT moves into its headquarters on the Boulevard of the Allies. Corps de Ballet includes 40 dancers.

• 1975

  Subscriber base reaches a total of 3,000.

• 1976

  Nicholas Petrov steps down as Artistic Director. PBT becomes fully independent of Point Park College.

• 1977

  Patrick Frantz is named the new Artistic Director. Anthony Bryan is appointed Board Chair. Subscriber base reaches a total of 4,000 and the budget tops $1 million.

• 1979

  PBT School is organized.

• 1980

  Intensive Summer Program is launched. Subscriber base reaches 6,000.

• 1972

  Patricia Wilde, former principal dancer with New York City Ballet, appointed Artistic Director Wilde responsible for developing the clean, precise technique she was famous for herself in the company, and for commissioning 32 new works during her tenure.

• 1983

  Pittsburgh Ballet Theatre agrees to become a constituent of the newly renovated Benedum Center for the Performing Arts, marking its first partnership with the Pittsburgh Cultural Trust.

• 1984

  After a $2 million capital campaign, PBT moves into its current headquarters on Liberty Avenue in the Strip District.

• 1986

  PBT School launches the Schenley Program for high school students.

• 1987

  Mrs. Falk retires and is succeeded by Stephen Richard. A stabilization campaign is launched to raise $1.5 million. PBT moves main stage productions from its former home at Heinz Hall to the Benedum Center.

• 1989

  First arts education and outreach programs are offered.

• 1990

  Anthony Bryan steps down as Board Chair and is succeeded by Linda Dickerson.

• 1991

  Steven Libman succeeds Stephen Richard as Executive Director. Stabilization campaign is completed. $1.2 million is invested in George Balanchine’s The Nutcracker.

• 1993

  PBT launches the Campaign for Permanence, an $18 million capital campaign to expand the endowment, fund new works, improve facilities and create a working capital reserve.

• 1998

  Terrence S. Orr succeeds Patricia Wilde as Artistic Director. F. James McCarl is appointed Board Chair.

• 1999

  The number of productions is reduced from six to five.

• 2002

  Hal Walman is appointed Board Chair. The New Nutcracker campaign is launched to raise $1.2 million for the new production.

• 2004

  Steven Libman steps down as Executive Director. Jeanne Gleason is appointed Board Chair. Endowment tops $9 million.

• 2005

  Robert Petrilli is named Interim Managing Director. Board of Trustees forms an Oversight Committee, conducts an organizational assessment and decides to perform the season to taped music.

• 2006

  Harris Ferris is named Executive Director. LeRoy Metz is appointed Board Chair. The Say It With Music campaign is launched to restore the orchestra. The orchestra is returned for two productions of the 2006/2007 season, which opens with Swan Lake to wide acclaim.

• 2007

  PBT’s turn-around plan is successful, the organization completes the fiscal year with an operating surplus. The Board adopts a three-year strategic plan.

• 2008

  Carolyn Byham is appointed Board Chair. PBT presents the North American premiere of Derek Deane’s Alice in Wonderland. PBT ends the fiscal year in the black for the second year in a row.