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Photo Gallery: From Ballet Students to Stars
See the next generation of professional dancers, including newly hired company members Christian García Campos and Tommie Kesten, on stage this month in PBT School’s Pre-professional Showcases and Spring Performance 2018.
Pittsburgh Ballet Theatre School’s Pre-professional Division is a training ground for the next generation of aspiring dancers. According to Artistic Director Terrence S. Orr, “The Pre-professional Division is where dancers begin making the transition from student to professional. At this stage, dancers are honing their performance skills, cultivating their individuality as artists and testing their technique in company repertoire.” PBT’s company roster is a testament to this — Orr has recruited more than half of its dancers from the Pre-professional Division. Here, get an exclusive look at our stars while they were still students:
Your Guide to PBT School’s Spring Performances
Emerging talents of Pittsburgh Ballet Theatre School will take the stage for two May productions in downtown Pittsburgh, showcasing student dancers from the beginning of their training journey to the cusp of their professional stage careers. Here’s who and what you can expect to see.
Pre-Professional Showcases
When: May 18-20
Where: Point Park University, George Rowland White Performance Studio, 201 Wood Street
Who: PBT School pre-professional students
What: Did you know that more than half of PBT’s company roster were recruited from PBT School’s Pre-professional Division? At these special showcases, you can scout emerging talent and get the first look at newly signed company dancers Tommie Kesten and Christian García Campos. Plus, guess who might be joining the company next (hint: exciting news coming later this week). See aspiring professional dancers perform new works choreographed by PBT School faculty members and PBT Principal dancer Yoshiaki Nakano, along with David Lichine’s one-act Graduation Ball, excerpts from George Balanchine’s Western Symphony and Paquita with choreography after Marius Petipa.
Tickets: $25 at pbt.org or 412-454-9107
Spring Performance 2018
When: May 25-26
Where: Byham Theater, 101 6th St.
Who: 200+ students of PBT School’s Student and Pre-professional Divisions
What: Experience classical and contemporary works performed by budding ballet dancers to polished pre-professionals. In addition to the Pre-professional Showcase works above, see the training journey come full circle as students in Preparatory Ballet through the Graduate Program take the stage together in a work conceived by PBT School faculty members and inspired by the classical ballet Coppélia.
Tickets: $26-36 at pbt.org or 412-456-6666
New Dancer Spotlight: Christian García Campos
Artistic Terrence S. Orr recruited Christian García Campos, of Puebla, Mexico, to the company from the PBT School Graduate Program, where she has trained since 2014 — first as a full-time high school student and then as a Graduate student. She’ll make her official company debut at PBT’s Aug. 19, Ballet Under the Stars performance at Hartwood Acres, followed by the company’s main-stage season opener Mozart in Motion in October. Get to know Christian here.
Fun Facts
Tell us about your…
Hometown: Puebla, Pue., México
Family: “With two surgeons as parents, both my sister and I decided dance was our path. She has a dance studio back home.”
Pre-performance ritual: “I try to relax myself with music, but I definitely cross myself before entering the stage.”
Hobbies: Playing the piano, drawing and writing
Favorite food: Tacos and sushi
Favorite song: “No no no” by Beirut
Ultimate dream role: Juliet (Romeo and Juliet) or Nikiya (La Bayadère)
Favorite role to date: A bride in PBT’s production of Dracula
Q&A
How do you think you’ve grown as an artist during your time in the PBT School Graduate Program?
“I believe that I have matured my dancing, trying to pay more attention to the small but meaningful details, which make the difference. I also think I’ve worked on trying to throw myself out there without worrying about the outcome. That usually does the trick, which hopefully will help throughout next year.”
Describe your ballet “epiphany” – the moment you knew this was what you wanted to do professionally.
“I don’t think there was an exact moment, but I remember that when I was younger in my home studio, I would love going to rehearsals. My fun on Fridays and Saturdays wouldn’t be about parties, it would be about going to do what I loved the most. Some people wouldn’t understand it, but that’s how I knew I wanted to keep doing this for however long I could.”
What are some of your personal goals for your first season as a company dancer?
“I want to grow as a teammate. I believe the experience that you get as a student might be different from the one you get as a professional dancer with your coworkers. I also want to expand myself and be brave in doing things I’m not used to doing, to not stay in a comfort zone, not to focus too much on certain things so I don’t forget to loosen up a bit.”
What’s the most fulfilling thing about being a ballet dancer?
“There’s just so much to it. It’s like entering a whole new world that not everybody gets to experience. To be backstage, to witness how magic gets done before a show, and of course being on stage. It’s like escaping reality for a little bit. The lights, the costumes and makeup, how the music completely wraps up my entire focus. I live for those tiny moments that happen in which I indulge completely in the moment, and I couldn’t be more satisfied than that.”
What are you most looking forward to dancing next season?
“Definitely Mozart in Motion; it’s not every day that you get to dance something a little less classical and what better than (these works by George Balanchine and Jiří Kylián). Also I’m very curious about The Great Gatsby. ”
If I weren’t a ballet dancer, I would be…
“A marine biologist. The ocean mesmerizes me and I love animals way too much (haha). It’s always been sort of a dream to work with dolphins.”
New Dancer Spotlight: Get to Know Tommie Kesten
Artistic Terrence S. Orr recruited Pittsburgh native Tommie Kesten to the company from the PBT School Graduate Program, where she gained main-stage experience in PBT productions of The Nutcracker, Swan Lake, PBT: New Works and West Side Story Suite. She’ll make her official company debut at PBT’s Aug. 19, Ballet Under the Stars performance at Hartwood Acres, followed by the company’s main-stage season opener Mozart in Motion in October. Get to know Tommie here.
Fun Facts
Tell us about your…
Hometown: Pittsburgh, PA
Family: “I am named after my oldest brother Tommy, who passed away before I was born. My other brother, Ty, passed away in 2016 while racing his dirt bike. He was only 17 and I was 15. My parents and I started a foundation to honor his life, 1sixfoundation.org. It brings a lot of comfort to make amazing donations in his name. Whenever I am on stage I am always performing for my big brothers in heaven.”
Pre-performance ritual: “I have been dancing since I was 2 years old. My mom would always say “Piece of cake” before I would walk on stage and I would say “Piece of pie” back to her. It just kind of became a ritual and we have stuck to it.”
Hobbies outside dance: “I enjoy riding my bike on trails and finding cute little coffee shops on Sunday mornings. I love playing with my bulldogs and realizing how precious life is; I love family time.”
Favorite food: “I’m kind of addicted to pretty much anything on the menu at DiAnoia’s and I am obsessed with cupcakes.”
Favorite musician right now: Bruno Mars
Ultimate dream role: George Balanchine’s Jewels
Favorite role to date: “Western Symphony, (which I performed in PBT School’s Pre-professional Showcases), is my favorite role so far. It has challenged me in so many ways and I had fun in every rehearsal.”
Six-question Q&A
How do you think you’ve grown as an artist during your time in the PBT School Graduate Program?
“I feel I have grown as an artist during my first year at PBT as a grad student because PBT has given me so many performance opportunities. I have performed at PBT more in this one year than I have at any other program I have attended in the past. Also, the opportunities I’ve had to dance and perform with the company this year have been a great learning experience. Especially when I got to perform in Jessica McCann’s the silver line (in the March PBT: New Works program). I was alongside many principal and soloist dancers, so it was amazing to learn and dance so closely with them in a small setting. This is what I feel has prepared me most for a professional position.”
Describe your ballet “epiphany” – the moment you knew this was what you wanted to do professionally.
“I would describe my ballet “epiphany” as having a really special teacher, Mr. Piper, come into my life at the right time. His method of teaching made me fall in love with ballet. I became more and more interested every day and just knew that I was meant to pursue this amazing art form. When I started this year at PBT, I just felt it was the perfect place for me. It has been a dream to dance with this company since I was a little kid because I would always come to the shows growing up and wanted to see myself on that stage one day making my dreams come true.”
What are some of your personal goals for your first season as a company dancer?
“Some of my personal goals for my first season as a company dancer would be to keep improving my technique and learn as much as I can from the dancers around me. (PBT Principal) Hannah Carter and (corps de ballet dancer) Jessica McCann have been so helpful already by letting me pick their brains and ask them questions about what to expect my first year. Also, when my partner and I were rehearsing Sugar Plum (pas de deux) on our own, (PBT Principal) Alejandro Diaz would just be walking by and he would always come in and give us tips on how to improve our dancing together. I am very thankful for their help and how warm and welcoming everyone has been.”
What’s the most fulfilling thing about being a ballet dancer?
“I would say the most fulfilling thing about being a ballet dancer is working as hard as I can every day, to the point of exhaustion, and being able to go to bed every night feeling like I gave it all I’ve got. Being able to set a goal for myself and finally reaching that goal is one of the most fulfilling things to me. For me, it always has been and always will be about the personal growth.”
What are you most looking forward to dancing next season?
“I am most looking forward to dancing The Great Gatsby and Mozart in Motion (featuring works by George Balanchine and Jiří Kylián) next season!”
If I weren’t a ballet dancer, I would be…
“Although I can’t imagine my life without ballet, I would have to say if I weren’t a ballet dancer I would be a contemporary dancer since that is what I grew up doing.”
Alexandre Silva to Make Final Bow of 12-year Career
This weekend, Pittsburgh Ballet Theatre’s final performance of UPMC Presents West Side Story Suite + In The Night + Fancy Free will celebrate the final bow of a very special artist.
Soloist Alexandre Silva will retire from his 12-season career with Pittsburgh Ballet Theatre following the company’s season finale production, dancing Jerome Robbins’ In The Night opposite his long-time partner Julia Erickson.
“Alexandre is a very special artist. He has wonderful technique and brings a pathos to his dancing that resounds beyond the stage and into the audience. He’s taken on so many roles for us — even beyond dancing. He helps his colleagues in rehearsals, in class and has made so many meaningful contributions to PBT as an organization. We will miss him greatly,” said Terrence S. Orr, PBT artistic director.
Silva, a native of Brazil, joined PBT in 2006 after performing professionally with Sesi Minas and later with Utah Regional Ballet in the United States.
Fans will remember Silva for his rich technique and artistic interpretation and the regal bearing he brought to roles including Albrecht and Hilarion in Giselle, Prince Siegfried in Swan Lake and Drosselmeyer and Sugar Plum Cavalier in The Nutcracker.
Principal dancer Julia Erickson, his frequent partner over more than a decade, had the opportunity to dance opposite him in many of these iconic ballets.
“He really is one of the kindest souls that I know. He knows who is and has such a subtle sense of confidence. He’s such a caring partner and a breath of calmness that’s really wonderful to have around. He’s served so many amazing roles in the company. He’s got this really great instinct and versatility to his artistry. I always know he’s there for me and I’m going to miss our partnership a lot. It’s meant so much to me,” Erickson said.
For many seasons, Silva also had the opportunity to dance opposite his wife, former PBT principal dancer Christine Schwaner, who now serves as a faculty member for PBT School.
Following their 2012 performance of the lead roles in the romantic ballet Giselle, Jane Vranish of the Post-Gazette wrote, “{Silva} was the perfect Albrecht, certainly one of the most coveted dramatic roles in the ballet repertory, and the perfect partner — a handsome lover who rued his actions. He also supplied a smooth muscular technique, with a series of double cabrioles and swooping backbend that drew gasps…This couple was genuine, and they drew the audience into their story with an emotional attachment. It was real. It was honest. It was a privilege to watch them.”
Just as it has been a privilege to watch Alexandre on stage for over a decade.
Join us in celebrating Alexandre’s career — and his final bow — at our 3 p.m. Sunday, May 6, performance of UPMC West Side Story Suite + In The Night + Fancy Free at the Benedum Center.
Pittsburgh Ballet Theatre Signs Two New Dancers for 2018-2019 Season
Artistic Director Terrence S. Orr has signed two new dancers to the company roster for the 2018-2019 Season, which opens Oct. 26-28, with Mozart in Motion with the PBT Orchestra.
PBT School graduate students Christian García Campos, of Puebla, Mexico, and Tommie Kesten, of Pittsburgh, will both join the company as apprentices for the 2018-2019 Season.
They’ll make their final performances as students in the school’s two year-end performances: Pre-Professional Showcases, May 18-20, at Point Park University, and Spring Performance 2018, May 25-26, at the Byham Theater.
“These dancers captured our attention with their stage presence and technique, not only through their work with PBT School but also in the professionalism they’ve show on stage in company productions like ‘The Nutcracker,’” Orr said. “We look forward to officially welcoming them to the company in July when we begin rehearsing for our new season.”
García Campos and Kesten will make their official company debuts at PBT’s free Ballet Under the Stars performance at 7 p.m. Sunday, Aug. 19, at Hartwood Acres, followed by Mozart in Motion, the company’s main-stage season opener, Oct. 26-28, at the Benedum Center.
Single ticket sales for Mozart in Motion and other 2018-2019 Season productions open Aug. 7, at pbt.org, 412-456-6666 or the Box Office at Theater Square. Tickets start at $28. Subscription packages, starting at $81, are available now by visiting pbt.org or calling 412-454-9107.
About the New Dancers
Christian García Campos
Christian García Campos, of Puebla, Mexico, joins the company from the PBT School Graduate Program, where she has trained since 2014 — first as a full-time high school student and then as a Graduate student. Prior to PBT, García Campos trained with the Saint Paul Conservatory for Performing Artists and with Estudio y Compañía de Danza Antoinette in Puebla, Mexico. García Campos has performed in PBT productions of “Swan Lake,” “The Nutcracker,” “Dracula” and “Alice in Wonderland.” Her repertoire also includes “Etudes,” “Giselle,” “Don Quixote” and the role of Arabian in “The Nutcracker.” She will perform in excerpts from “Swan Lake” and George Balanchine’s “Western Symphony” among other works at PBT School’s Pre-professional Showcases and Spring Performance 2018.
Tommie Kesten
Pittsburgh native Tommie Kesten joins the company from the PBT School Graduate Program, where she gained main-stage experience in PBT productions of “The Nutcracker,” “Swan Lake” and “PBT: New Works.” Prior to joining PBT School in 2017, she trained with Miami City Ballet School and Ballet Academy of Pittsburgh and completed summer intensives with the School of American Ballet and PBT School. Her repertoire includes George Balanchine’s “Walpurgisnacht,” “Valse Fantaisie,” and “Raymonda Variations;” Peter Martins’ “Eight Easy Pieces;” Jerome Robbins’ “Glass Pieces;” and multiple roles, including the Sugar Plum Fairy, in “The Nutcracker.” In May, Kesten will dance a principal role in excerpts from Balanchine’s “Western Symphony” among other works featured in PBT School’s Pre-professional Showcases and Spring Performance 2018. She’ll also appear alongside company dancers in Robbins’ “West Side Story Suite,” part of PBT’s May 4-6, season finale.
5 Things to Know About Jerome Robbins
PBT’s May 4-6, production of UPMC Presents West Side Story Suite + In The Night + Fancy Free is part of a nationwide, year-long celebration of the 100th birthdays of choreographer Jerome Robbins and composer Leonard Bernstein. They collaborated on several important works, including the ballet Fancy Free (the basis for the hit musical On the Town) and the Broadway and film sensation, West Side Story.
Here are five things you should know about Jerome Robbins, the dance icon behind PBT’s season finale production of UPMC Presents West Side Story Suite + In The Night + Fancy Free:
1. He started young. Jerome Robbins was just 24 years old when he began choreographing his first ballet and claim to fame, Fancy Free, which later inspired the Broadway hit On the Town. At the time, Robbins was still dancing as a founding company member of Ballet Theatre (now American Ballet Theatre) and had to create the ballet on the fly – between stops, on the tour bus and in hotel lobbies. Fancy Free was an instant sensation, sparking 22 curtain calls at the time of its premiere. In the ballet Robbins and Bernstein (and designer Oliver Smith) capture a moment in wartime New York that they – and the original audience – were all living in. Smith’s spare and wistful set design and Bernstein’s jazzy score create an atmosphere that is – to this day – undeniably American. Robbins’ first try at professional choreography signaled his genius for natural, spontaneous movement that adeptly reveals character and relationships.
2. He was an iconic choreographer in ballet…Following his choreographic debut at American Ballet Theatre, Robbins joined New York City Ballet and quickly ascended to the post of associate artistic director, working alongside George Balanchine. With the exception of brief sabbaticals, Robbins worked with NYCB from 1949 until his death in 1998 and created many of his great works there. Among the more than 60 ballets he created during his career are Fancy Free, Afternoon of a Faun, The Concert, Dances At a Gathering, In the Night, In G Major, Other Dances, Glass Pieces and Ives, Songs, which are in the repertories of New York City Ballet and other major dance companies worldwide. His final ballets include A Suite of Dances created for Mikhail Baryshnikov (1994), 2 & 3 Part Inventions (1994), West Side Story Suite (1995) and Brandenburg (1996).
3. And on Broadway. In addition to his work in the ballet world, Robbins is world renowned for his work as a director and choreographer in theater, movies and television. His Broadway shows include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam and Fiddler on the Roof. His last Broadway production, Jerome Robbins’ Broadway (1989), won six Tony Awards including best musical and best director.
4. He is an icon in dance with the awards and accolades to back it up. In addition to two Academy Awards for the film West Side Story, Robbins has received five Tony Awards, including best choreography for West Side Story, five Donaldson Awards, an Emmy Award, the Screen Directors’ Guild Award and the New York Drama Critics Circle Award. Robbins was a 1981 Kennedy Center Honors Recipient and was awarded the French Chevalier dans l’Ordre National de la Legion d’Honneur.
5. He worked with one of our own. PBT Artistic Director Terrence S. Orr remembers Jerome Robbins as exacting, intuitive and genuinely genius. Over his three decades with American Ballet Theatre, first as a principal dancer and then as the company’s ballet master, Orr worked repeatedly with Robbins – in the studio as a dancer and later as a repetiteur for his works. “I’ll never forget Jerry’s genius for the details that make a masterpiece,” Orr said. “Fancy Free, in particular, holds a special place in my heart. I had the privilege of learning one of the sailor parts from original cast member John Kriza and dancing the role for many years with ABT. We plan to do Jerry proud with this program.”
And to think: In the 1930s, Robbins intended to study either chemistry or journalism at New York University until the Depression depleted his family’s ability to support his education. It was then that Robbins returned to his early aptitude for music, dancing and theatrics. The rest is Broadway and ballet history.
Experience the PBT premieres of three Robbins masterworks in UPMC Presents West Side Story Suite + In The Night + Fancy Free on stage with the PBT Orchestra May 4-6, at the Benedum Center. Get your tickets here.
Behind the Scenes: Dancers Make Vocal Debuts in ‘West Side Story Suite’
In West Side Story Suite, PBT dancers won’t just be dancing…they’ll add singing to their repertoire too.
In honor of international centennial celebrations for choreographer Jerome Robbins and composer Leonard Bernstein, PBT will be bringing ballet fans a triple threat of company premieres — and acting, singing and dancing performances — in UPMC Presents West Side Story Suite + In The Night + Fancy Free on stage May 4-6, at the Benedum Center.
To prepare for their vocal debuts, the dancers have been working with Joan Barber, a vocal coach from the Jerome Robbins Foundation, who was the original Somewhere soloist for West Side Story Suite when it debuted with the New York City Ballet. As an actor and singer, Barber has performed on Broadway and sung on the original sound tracks of Beauty and the Beast, Aladdin and the King of Thieves, Pocahontas and others.
She’s also taught voice lessons for 30 years. And beginning this winter, Barber has worked extensively with PBT’s newly minted vocalists on their range and annunciation as well as the intention behind each lyric they sing.
“What does the song mean and who are you singing to?” Barber prompts. “They’ve all got their own individual interpretation of how to do the songs, and I encourage that…Bernstein’s music is so rich. Sondheim’s lyrics are so rich…every dot, every accent mark…everything means something in this music.”
Here’s how 4 dancers summed up their vocal journeys:
Julia Erickson
“I sing a fair amount but we’re talking along to songs I like in the shower/car/kitchen! It’s totally new. That being said I was in the school chorus in sixth grade. And I would say it feels totally natural. It is scary but they have been so supportive throughout the entire process. The singing is just another extension of the character — another means of expression. It’s a fantastic thing to get to explore…using my voice on stage for the first time at this late date in my PBT career! The more we learn about how to use the instrument, the more dynamic and complex we realize it is. And singing and dancing at the same time doesn’t just add one additional element; when you add in stage direction, projection, annunciation, style, breath and all the other things it’s quite a bit more to manage!”
Jessica McCann
“Singing and dancing is something I’ve never experienced at this magnitude. I’ve only taken one singing class in my life and I don’t have fond memories. The coaching I’ve received as Anita has been inspiring and empowering. I was told to stay in my head voice on the very high notes instead of switching to my soprano, which is what I was doing in the beginning, and I feel like I’ve grown more than I was expecting to! I have a new-found confidence in my singing, especially on those higher notes. Being coached to take hold of what I have and strengthen it has been incredible. (Barber) really pushed me and believed in me when I didn’t.”
Joseph Parr
“We had to sing in front of the entire company two years ago to audition for the lady who wound up being the vocal coach for West Side Story Suite. That was a kind of nerve-wracking, but besides that day it’s been a great experience! By the time the show comes I will have sung in front of the company enough times that a couple more hundred people won’t make me more or less nervous. It’s harder to sing in front of people face to face with the lights on than in a packed house with the lights off. I felt that way when I had to sing for A Streetcar Named Desire and this is way more fun to sing.”
Amanda Potts
“I would consider myself to be a quiet person and throwing myself into the role of Rosalia is the farthest outside my comfort zone I have ever pushed myself. I grew up singing in choirs, but being vulnerable enough to perform solo work isn’t something I ever pictured myself doing. And yet, the more we rehearse, the more I find myself really enjoying it.”
Experience the PBT premieres of UPMC Presents West Side Story Suite + In The Night + Fancy Free on stage with the PBT Orchestra May 4-6, at the Benedum Center. Get your tickets here.
Get to Know Our Newest Soloists
Artistic Director Terrence S. Orr has promoted three Pittsburgh Ballet Theatre dancers to soloists for the 2018-2019 Season, which kicks off in October. We sat down with Masahiro Haneji, of Hokkaido, Japan; William Moore, of Ipswich, England; and JoAnna Schmidt of Eustis, Florida, to learn more about their motivations, goals and growth. Then, see them on stage in UPMC Presents West Side Story Suite + In The Night + Fancy Free, May 4-6, at the Benedum Center.
How do you think you’ve grown as an artist this season?
MH: “The 2017-18 season was a very concentrated year for myself as an artist. I was able to truly commit to all the new roles and the opportunities given to me without any distractions as well as a great team to support me throughout the year. Roles such as Renfield (Dracula) and Jester (Swan Lake) whose personalities carry such a vital role in the ballet’s dynamic challenged me to perform technically difficult variations while staying in character. I cannot wait to add more personalities to my (hopefully) never-ending list of characters with the upcoming performance of a sailor in Fancy Free and a Shark in West Side Story Suite.”
WM: “Dancing at PBT gives you the opportunity to dance a large range of different styles, which will always make you grow as an artist. In addition, this year I took on the challenge of choreographing my own work on the company for the March PBT: New Works program. Having the chance to explore my own ideas has helped me broaden my understanding of what it is to be an artist/dancer and has given me another way of looking at dance. ”
JS: “I’ve started to dance for my own fulfillment more this year. I know that sounds cliché, but it’s something that took me far too long to learn. I used to assume everybody shared the same, hypercritical opinion of my dancing that I have and it was such a distraction. Worrying about all the ways you might not measure up certainly doesn’t allow much room for growth. Now, when it’s time to perform, I’ve tried not to pressure myself, to let go and enjoy the moment instead of dwelling on potential failure.”
What are some of your personal goals for your first season as a soloist?
MH: “As a soloist I cannot wait for the opportunities to work on more featured roles that will help broaden my abilities to improve on challenges I have yet to face as a corps de ballet member — such as standing out as an individual rather than matching my fellow dancers.”
WM: “Every year as a dancer I like to set new goals. I think some for next year will be to stay healthy and take on each program with a fresh mindset so I can give as much to each role as I possibly can.”
JS: “I aspire to become more dynamic, to take more risks and push the boundaries in my dancing.”
What’s the most fulfilling thing about being a professional ballet dancer?
MH: “There’s no real way to explain why performing gives a rush of happiness like no other, but the simplest way to explain it is the feeling that you are creating a dream come true for the audience. When I am performing, I am no longer the person I am off stage; I have the chance to show the audience something they’ve never seen before or will ever see again as each performance is unique.”
WM: “For me, being in the studio developing a role is one of the most fulfilling aspects of being a professional dancer. From the first rehearsal to the show is such a journey and collaboration with everyone. It’s great to be a part of such an exciting experience!”
JS: “There are so many ways it is fulfilling, but there’s something about dance that is uniquely exposing. When you dance, those who watch you are going to see who you really are, whether you like it or not. I think it’s beautiful to be taken out of your comfort zone in that way. Dancers can’t hide who they are…unless they want to stifle their artistry. I’m a pretty introverted person, so dance forces me to make myself visible.”
What are you most looking forward to dancing next season?
MH: “Among next season’s performances I am most excited to perform The Sleeping Beauty again. My first year as a company member I was given the opportunity to perform the role of Bluebird with fellow company member JoAnna Schmidt. I am really looking forward to see how much I have matured both technically and as an artist since my premiering year in 2014.”
WM: “I’m a huge Jiří Kylián fan, so i would have to go with the first program (Mozart in Motion), although the whole season will be great!”
JS: “I am looking forward to all the productions, but especially the Mozart in Motion program because it will be challenging to incorporate the brilliant styles of Balanchine and Kylián!”
Sneak Peek: West Side Story Suite
This spring, Pittsburgh Ballet Theatre celebrates the 100th birthdays of iconic choreographer Jerome Robbins and composer Leonard Bernstein with a triple bill of PBT premieres: UPMC Presents West Side Story Suite + In The Night + Fancy Free, on stage May 4-6, at the Benedum Center.
Jerome Robbins (1918-1998) is a cultural giant in both ballet and Broadway dance. His Broadway hits include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam, and Fiddler on the Roof. His last Broadway production, Jerome Robbins’ Broadway (1989), won six Tony Awards including best musical and best director.
Throughout his career, which included a long-term position as New York City Ballet’s associate artistic director, He choreographed more than 60 ballets, including Fancy Free and In The Night, which PBT also will perform in May.
“No choreographer has so epitomized the American scene, or been so prolific in his expenditure of his creative energy. He contributed a great body of superb work to our dance culture, represented all over the world, and in the continuous performances of musicals during the last 35 years.” New York City Ballet
Beginning in the late 1940s, Robbins teamed up with the brilliant composer Bernstein to create West Side Story, a modern take on Romeo and Juliet, which sets the love story on the streets of 1950s New York in the crosshairs of two feuding gangs: The Jets and the Sharks.
Capturing the essence of the full-length musical, West Side Story Suite premiered in 1995 and samples iconic songs and Tony-winning choreography from the duo’s Broadway musical (1957) — and Academy Award-winning film (1961) — with choreography by Robbins, music by Bernstein, lyrics by Stephen Sondheim and scenery by Oliver Smith.
In the words of Principal dancer Julia Erickson, “West Side Story is such a crowd pleaser. It’s based off of Romeo and Juliet, so it’s a universally compelling story and I think that the suite picks out the greatest parts of it and puts it together in something that can be presented in an evening of ballet.”
Get a sneak peek:
Announcing the PBT: New Works Lineup
Experience seven world-premiere works choreographed by PBT’s own company dancers in “Pittsburgh Ballet Theatre: New Works,” on stage March 16-25, at the August Wilson Center. Tickets start at $28 and are available at pbt.org/NewWorks or 412-456-6666.
Company dancers Amanda Cochrane, Julia Erickson, Yoshiaki Nakano, Jessica McCann, William Moore, JoAnna Schmidt and Cooper Verona will each create a signature work on his or her fellow artists, offering audiences a compelling look at the next generation of dance makers. There will be two different programs, each featuring different choreographers. Check out the lineup below and preview some of the music that inspired the choreographers here.
LISTEN TO OUR SPOTIFY PLAYLIST
Program I:
8 p.m. Fri., March 16 | 2 p.m. Sun., March 18 | 2 p.m. & 8 p.m. Sat., March 24
Weighted Affair
Choreographer: William Moore
Food for Thought:
A dinner party with friends introduces a variety of human complexities and interpersonal exchanges. Moore pairs the old vinyl sound of the ballet’s score with clear, neoclassical movement to explore relationships among six women and four men – and the association between our inner emotions and exterior facades. Moore previously choreographed Four Marks for PBT’s Millennial Movement program in 2017 and has created works on PBT School’s pre-professional students.
Interlaced Motifs
Choreographer: Amanda Cochrane
Food for Thought: Four individuals embark on a whimsical lark of lighthearted escapades through Impressionist artwork and music. Inspired by the implied colors and texture of the works of composer Claude Debussy, the dancers playfully meander through the paintings of Liebermann, Monet, Van Gogh and Whistler. Fleeting colors and light, shifting rhythms and harmonies and classical/neoclassical style combine to create fanciful vignettes that celebrate the humor found in daily living. This is Cochrane’s second commissioned work for PBT; she choreographed Systole on the company in 2017.
Lightworks
Choreographer: JoAnna Schmidt
Food for Thought:
“What is the magic that makes one’s eyes
Sparkle and gleam, light up the skies
The name of the game is lightworks.”
– From “Lightworks,” by Raymond Scott
Infusion
Choreographer: Yoshiaki Nakano
Food for Thought: Described as “lively and detailed,” Nakano’s classical-leaning choreographic style is based in a keenly observed understanding of the strengths of his fellow dancers. With “Infusion” he plumbs his own expressive powers with the goal of creating a physical version of the music for the stage. Nakano’s recent works include A Fellow Feeling, a 2016 work for PBT, and The Symphony, created in 2017 for PBT School.
Program II:
8 p.m. Sat., March 17 | 8 p.m. Fri., March 23 | 2 p.m. Sun., March 25
i
Choreographer: Julia Erickson
Food for Thought: Through a series of vignettes unified by a poignant strand of poetry, Erickson explores the human need for interconnectedness and self expression in a world of increasing fragmentation, detachment and distraction. Pedestrian movements and patterns and a quirky, contemporary movement style create a dreamlike version of reality, which challenges us to grasp moments of calm to seek our own wild, weird, imperfect truth. Erickson also created Demon Hostess for PBT in 2017.
Thick White Sheets
Choreographer: Cooper Verona
Food for Thought:
Thick White Sheets sheds light on the role of circumstance in our lives. Verona’s organic, natural movement style — based in energy rather than position and form — animates the human search for control despite an essential powerlessness. Past works for PBT include Walking With, brood and Gravitational Embrace. Verona has also created By the Sky and Spring for PBT School and Very Instinctual for Point Park University.
the silver line.
Choreographer: Jessica McCann
Food for Thought: With my ballet I wanted to show off the strength and skill in our company. Placing my ideas and movement onto my fellow company members and dear friends has been an exhilarating and challenging honor. I have my own ideas and story line for my ballet, but simply put, it’s inspired by and based upon the choices people make. When I watch contemporary ballet, I don’t always like being told what the ballet’s about – that puts my mind in a box. I prefer going on my own experience of the work and seeing where my mind takes me – and what the music and movement are saying. It’s always fun hearing what different people get out of watching the same ballet. I sincerely hope you enjoy. McCann has choreographed since she was a teenager in college, choreographing on students much older than she. Since then she has choreographed in summer program showcases and most recently, premiered works in Japan’s World Dream Gala.
Q&A: 4 Ballerinas On What It’s Like to Be Swan Queen
In the classical ballet Swan Lake, the ballerina’s dual role of Odette/Odile, commonly referred to as White Swan/Black Swan, is one of the most iconic in the repertoire, demanding technical mastery and emotional range to morph from vulnerable and pure Odette to audacious and deceptive Odile. Thematically, these polar-opposite personalities symbolize a battle between good and evil. Choreographically, they also contrast. Odette is fluid and ethereal with the delicate carriage and rippling swan arms that are a signature of the ballet. Odile is virtuosic, demanding attention with a series of heart-pumping jumps and turns, including the famous 32 fouettes of Act 3.
Here, PBT’s four principal ballerinas and Swan Queens — Amanda Cochrane, Hannah Carter, Julia Erickson and Alexandra Kochis — share insights on portraying two complex characters in one production.
Describe what makes Odette’s technique unique. How do you make it your own?
AC: I find one of the most wonderful things about being Odette and Odile is that you have so much room to play with port de bras and the musicality. I like to experiment with different arm movements, and I try to make each rehearsal slightly different, whether I’m exploring the music or just holding a balance a second longer. This allows me to discover what feels natural and expand on things that work for me as an artist/dancer.
HC: Odette’s technique, along with the corps de ballet of swans, uniqueness comes mainly from her port de bras, the way she uses her arms. They are our wings and we try our best to make them look that way.
JE: It diverges from classical, rounded ballet port de bras shapes, because you’re portraying a swan with the swan arms. You need all the carriage of classical ballet technique but then you kind of flip the hand. The beauty of Odette’s technique is that it’s very fluid. You’re able to play a lot more than with your average classical ballet role, so that is very fun. It’s all about length and expression and covering space.
AK: Dancing the role of Odette is classical vocabulary, extrapolated. You are extending a pointed toe but only to better probe the waters. You are raising your arms and inclining your head but with the purpose of unfurling your wings and preening your feathers. The role gives meaning to the movements.
How do you switch gears from vulnerable Odette to audacious Odile? Describe your interpretation of each character.
AC: Odette and Odile are such polar opposites, I feel like I have to flip an internal switch when I bounce back and forth between the two roles. I approach Odette with a feeling of longing and desire. I try to give her backstory a wounded innocence with a hint of a wild creature, all behind the queenly authority that she has to protect her flock. I see Odette as a strong, enduring soul whose kindness and love triumph evil. Odile is a bit of a trickster. She has to be cunning and seductive without giving away her true identity. I try to give this role more spark and a commanding/alluring presence to deceive the prince. Odile is enthralled by the challenge of winning over Siegfried.
HC: The music and change of costume is going to be a big help for me in switching from Odette to Odile. Odette wears this beautiful white tutu and then Odile is a black tutu with gold lace trim on it that is just as beautiful in its own way. It makes you feel powerful and in charge with a sense of allure. The music does exactly the same thing.
JE: I definitely like to think about it as they’re these two archetypes…these are extremes and they’re portrayed as such. Odile is just the black mirror version of Odette — if you were to take Odette in all her innocence and beauty and purity and flip it on its head. With Odette, I think we’ve all felt those vulnerabilities of being seemingly lost, our hearts breaking, we feel there’s no hope and then this incredible thing happens and you feel so alive. That’s such a magical thing. Everyone’s felt that – probably too few times in our lives. It’s beautiful in its tragedy and also in its hope. And then Odile is so much fun because basically you’re a trickster. You get to really run the show and plot. Everything is working in your favor. Odile is so confident that she’s just in the flow. The cards are falling exactly how they’re supposed to.
AK: Tchaikovsky’s music drives my transformation. I only need hear the first few coursing notes of Odile’s entrance into the ballroom scene in the third act to feel like the powerful and scintillating seductress that she is in my mind. These characters live in each of us – the two sides of a coin, the yin and the yang. The fun part of dancing this role is getting in touch with each of them as they exist in you and then giving them a voice.
What makes this a bucket list (dual) role?
AC: I have a special place in my heart for Swan Lake. I have loved this ballet since I was young. This iconic score gives me chills down my spine every time I hear it. The technical challenges that come with these roles is something to be conquered and to be proud of when you’ve accomplished what you set out to do. This is a true prima ballerina role that is an honor to perform.
HC: I love dancing classical ballets, and Swan Lake is one of the most famous. I grew up watching the big names dancing roles like Odette/Odile and knew that’s what i wanted to do. I hope i can do it justice.
JE: I think it’s the incredible challenge of having to dance two characters and have two different levels of energy. To transition from Odette to Odile and back to Odette, to have the opportunity to conquer that challenge in an evening of ballet and take the audience on that ride with you, I think it’s a bucket list role because of that. It’s so fun because you have this beautiful freedom of expression. Everyone who’s danced it has danced it so differently…Your individuality really comes out, which is wonderful.
AK: Within the classical lexicon, the role of Odette/Odile is regarded as a pinnacle of both dramatic and technical prowess. To dance it is to go beyond yourself to a realm of suspended disbelief – where sorcerers do exist and it is possible for a prince to fall in love with a swan queen.
What makes Swan Lake special to you?
AC: Just having the opportunity to be onstage performing this beloved role makes this a special show for me.
HC: I’ve danced the corps de ballet of swan lake many times and have been fortunate enough to dance in different productions with different companies. It’s going to be a new experience and a new challenge dancing this role.
JE: I saw Pacific Northwest Ballet do Swan Lake back when I was a little kid. I was in the front row. I remember being just floored by how beautiful it was. Later in high school…I got the CD and I used to listen to it in my car b/c (the music is) just so compellingly beautiful. This will be my sixth full-length Swan Lake, and it was really my first full-length ballet. I remember being on the journey of my first Swan Lake performance and how it opened me up and took my dancing to another level. I feel like everytime I dance it it does the same thing.
AK: Throughout my career Swan Lake has been a frequent visitor. I have danced many roles, from the corps de ballet on up to Odette/Odile, and had the honor of watching so many beautiful artists make it their own. It is an incredibly special process to take all of this knowledge that you possess at this particular time in your life and assemble it into a unique version of the Swan Queen.
Announcing Pittsburgh Ballet Theatre’s 2018-2019 Season
Artistic Director Terrence S. Orr is proud to announce the company’s 2018-2019 Season lineup, featuring a new production of The Great Gatsby, a reunion with Dance Theatre of Harlem and the official kickoff of PBT’s 50th-anniversary season in February.
The five-ballet season runs October 2018 through May 2019 and includes: Mozart in Motion with the PBT Orchestra, The Nutcracker, The Great Gatsby with the PBT Orchestra, Pittsburgh Ballet Theatre + Dance Theatre of Harlem, and The Sleeping Beauty with the PBT Orchestra over Mother’s Day weekend.
“This season offers something for every palette. Audiences will see masterworks by George Balanchine and Jiří Kylián alongside great classics like The Nutcracker and The Sleeping Beauty,” said PBT Artistic Director Terrence S. Orr. “We also look forward to continuing our partnership with Dance Theatre of Harlem and retelling The Great Gatsby through the fresh eyes of choreographer Jorden Morris. I think this season speaks to ballet’s versatility of technique, musical influences and meaning, and we look forward to sharing it all with our audiences.”
Subscriptions start at $81 and are on sale now at pbt.org or 412-454-9107. Season ticket packages feature 20 percent savings over single tickets and a variety of subscriber benefits. Single ticket sales will open Aug. 7, at pbt.org or 412-456-6666.
2018-2019 Season Lineup
Mozart in Motion with the PBT Orchestra
Oct. 26-28, 2018 — Benedum Center
Choreography: George Balanchine & Jiří Kylián| Music: W.A. Mozart’s Divertimento No. 15, Six German Dances, and piano concertos in A Major KV 488 (Adagio) and C Major KV 467 (Andante)
Experience Mozart’s music as muse for three works by dance icons George Balanchine and Jiří Kylián. Balanchine considered Mozart’s Divertimento No. 15 one of the finest ever written, and he named this majestic neoclassical ballet after its spirited score. Kylián’s Sechs Tänze, set to Mozart’s Six German Dances, is a comedic clash of the classical and contemporary, sophisticated and absurd, peppered with powdered wigs and dry wit. By contrast, Kylián’s profound Petite Mort juxtaposes the slow movements of three Mozart piano concertos with powerful dancing that integrates baroque dresses, fencing foils and black silks to striking effect.
The Nutcracker
Nov. 30-Dec. 27, 2018 — Benedum Center
Choreography & Staging: Terrence S. Orr | Music: P.I. Tchaikovsky
A winter wonderland awaits at Pittsburgh Ballet Theatre’s “The Nutcracker”! It’s Christmas Eve in turn-of-the-century Pittsburgh when a mysterious gift sparks a wondrous adventure. Journey to a Land of Enchantment filled with swirling snowflakes, waltzing flowers and exciting dances set to Tchaikovsky’s glorious score. Five lavish scenes, dozens of dancers and over 150 costumes make this one of Pittsburgh’s most cherished holiday traditions.
50TH-ANNIVERSARY KICKOFF
The Great Gatsby with the PBT Orchestra – A new production by Jorden Morris
Feb. 8-17, 2019 — Benedum Center
Choreography: Jorden Morris | Music: Carl Davis
Rediscover the revelry and recklessness of the roaring ‘20s in Jorden Morris’ poignant restaging of “The Great Gatsby.” In the summer of 1922 a romance rekindles between two of the Long Island elite: married Daisy Buchanan and mysterious Jay Gatsby. Morris brings F. Scott Fitzgerald’s drama to life with emotive dancing, an original Carl Davis score and cinematic sets that draw audiences into Gatsby’s exclusive soirees. At the heart of this story is a man who, beneath the glitz and glamor, sees love as his guiding light to the American dream.
Pittsburgh Ballet Theatre + Dance Theatre of Harlem
March 15-24, 2019 — August Wilson Center
In partnership with the August Wilson Center for African American Culture
Choreography & Music: Mixed repertory
When Pittsburgh Ballet Theatre and Dance Theatre of Harlem joined forces in 2017 for a sold-out run at the August Wilson Center, the Post-Gazette called it “a pas de deux of voluminous proportions.” Audiences called encore. In March, the companies will reunite for a mixed repertory production, featuring repertoire signatures from both companies and a collaborative staging of Stanton Welch’s expressive “Orange,” a sweeping contemporary ballet set to music by Antonio Vivaldi.
The Sleeping Beauty with the PBT Orchestra
May 10-12, 2019 | Benedum Center | Mother’s Day Weekend
Choreography: after Marius Petipa | Staging: Terrence S. Orr | Music: P.I. Tchaikovsky
“The Sleeping Beauty” ranks among the great story ballets — a tour de force of classical choreography and fairy-tale charm driven by a magnificent Tchaikovsky score. The tale comes to life with storybook scenery, glittering costumes and pristine choreography, which many consider the gold standard for classical technique. Audiences of all ages will revel in a suite of delightful dances by Princess Aurora and Prince Desire, six fairies, and storybook characters like Puss ‘n Boots, White Cat and the Bluebirds.
Swan Lake Casting Is Up
Swan Lake casting is up! We have four stunning couples dancing the lead roles of Odette/Odile and Prince Siegfried throughout our two-weekend run. Swan Lake with the PBT Orchestra runs Feb. 16-25, at the Benedum Center. Get tickets and view the full cast list here.
Meet Your Odette/Odiles and Prince Siegfrieds:
Explore Swan Lake
- Watch: View the trailer here.
- On the blog:
- 5 Things that Make Swan Lake Iconic
- The Story of Swan Lake (“Spark Notes” edition)
- Synopsis: Read the full story of the ballet here.
Swan Lake with the PBT Orchestra runs Feb. 16-25, at the Benedum Center. Get tickets and view the full cast list here.
Julia Erickson to Close 17-year Career with Pittsburgh Ballet Theatre
Don’t miss your chance to experience Julia Erickson’s fourth and final PBT interpretation of a signature role, Odette/Odile, on 8 p.m. Friday, Feb. 23. Get your tickets here.
Julia Erickson, one of Pittsburgh Ballet Theatre’s (PBT) longest-tenured principal dancers, has announced her plans to close her 17-year career with PBT following the company’s 2018-2019 Season opener in October.
This season, fans can still look forward to seeing Erickson dance one of her signature roles, Odette/Odile, in PBT’s production of “Swan Lake,” on stage Feb. 16-25, at the Benedum Center. Erickson will star as Odette/Odile, commonly referred to as White Swan/Black Swan, in the 8 p.m. Friday, Feb. 23, performance. She also is premiering original choreography in the “PBT: New Works” program, March 16-25, at the August Wilson Center, and preparing for the lead singing role of Anita in “West Side Story Suite,” part of PBT’s May 4-6, Jerome Robbins and Leonard Bernstein celebration presented by UPMC. The date of her fall farewell performance will be announced in early October.
“I have treasured my time at Pittsburgh Ballet Theatre. The rich and rewarding personal and professional relationships I have developed will be with me forever. In this spirit I will relish my last months here with the company in the rehearsal studio and on the Benedum Center stage more than ever,” Erickson said. “As bittersweet as my departure is, I will remain connected to all of the people in the community who mean so much to me as I branch out and engage in new opportunities. I am excited to see where this new direction takes me, while knowing that I am forever better because of my time with this organization. I love you PBT and I love you Pittsburgh!”
Erickson joined PBT in 2001, advanced to soloist in 2004 and was promoted to principal in 2009. She has spent the majority of her nearly 20 years as a professional dancer in Pittsburgh.
Following her final bow with PBT, Erickson plans to branch out in Pittsburgh and beyond to explore a new chapter of her career. First up is a summer touring season, including an engagement at the Joyce Theater in New York City, with Barak Ballet, where she earned accolades from the Los Angeles Times during guest performances last summer.
“Julia is a smart, charismatic dancer, with versatility and dramatic range that set her apart on stage. She brings a special presence to every role and has gathered an immense following over her years with Pittsburgh Ballet Theatre. She will be dearly missed by her colleagues in the studio and her fans in the audience,” said PBT Artistic Director Terrence S. Orr. “We are grateful that she has dedicated so much of her career to PBT and we look forward to seeing what’s next for her.”
Erickson grew up in Seattle, and began dancing at Pacific Northwest Ballet (PNB) School at age seven. She continued training, on scholarship, through the Professional Division where she met her husband Aaron Ingley. She also trained for three summers at San Francisco Ballet School and toured with PNB to Europe and Asia, including performance engagements at the Edinburgh Festival and Sadler’s Wells Theatre. She went on to dance for two seasons with Texas Ballet Theatre before joining PBT in 2001.
With PBT, Erickson has performed the lead roles in classics, including “Swan Lake” (Odette/Odile), “La Bayadère” (Nikiya), “The Sleeping Beauty” (Aurora, Lilac Fairy, Carabosse), “La Sylphide” (the Sylph), and “Le Corsaire” (Gulnare).
As a Balanchine-trained dancer, Erickson also earned principal roles in George Balanchine’s “Theme and Variations,” “Western Symphony,” “Who Cares?,” “Prodigal Son,” “Sylvia Pas de Deux,” “Agon,” “Serenade,” “A Midsummer Night’s Dream,” “The Four Temperaments” and “Divertimento No. 15.”
She has danced the roles of Lady Capulet in Jean-Christophe Maillot’s “Roméo et Juliette,” Myrtha in Giselle, “An Episode in his Past” in Antony Tudor’s “Jardin Aux Lilas (Lilac Garden)” and the Wife in Jerome Robbins’ “The Concert.” Her contemporary credits also include Paul Taylor’s “Company B;” Twyla Tharp’s “In the Upper Room,” “Nine Sinatra Songs,” and “Octet;” William Forsythe’s “In the Middle, Somewhat Elevated;” and Jiří Kylián’s “Petite Mort” and “Sinfonietta.”
As her frequent partner and colleague of 10 years, Principal Dancer Alejandro Diaz will miss Erickson’s leadership in the company, her positivity in the studio and her exceptional artistry on stage.
“I remember when I first met Julia 10 years ago. One of the very first things that we got to dance together was ‘The Three Musketeers.’ She was very supportive immediately and she’s always been that way. She has a warmth and an inclusiveness that she just vibrates on an energetic level,” Diaz said. “She has to dance, she has to move. She has a commanding presence on stage, but she also has the ability to be delicate and soft. I think we’re going to see a very beautiful last performance in October. I know that the community will miss her; we will miss her. She is a real artist.”
Throughout her ballet career, Erickson has managed to integrate other professional pursuits. From 2010 until its 2015 hiatus, Erickson and her husband, Aaron Ingley, ran Barre, an all-natural energy bar business that started in her home kitchen and was distributed at Whole Foods retailers nationwide.
She has blogged for the HuffPost, received the Pittsburgh dance community’s BRAZZY Award for outstanding female dancer in 2014 and was one named one of Pittsburgh Magazine’s 40 Under 40 in 2015. She serves on the board of the Oakland Planning and Development Corporation, guest teaches at dance studios regionally and nationally, and is finishing her political science degree at the University of Pittsburgh.
In a 2009 column for Dance Magazine, Erickson wrote, “I dance because each time I walk out on stage I have an opportunity to give the best gift I possibly can, at that moment, to the audience…the very driving forces behind dance — to strive for excellence, to entertain, to tell a story, to express oneself through the creation and sharing of art — are the very attributes that make us human.”