Pittsburgh Ballet Theatre
Once inextricably linked to the steel industry and winning sports franchises, Pittsburgh now boasts a thriving cultural scene that includes several world-class arts organizations, such as Pittsburgh Ballet Theatre.
Founded in 1969 by Yugoslavian choreographer Nicholas Petrov, PBT has been a chameleon-like company over the years. It has been transformed from a classically based company under artistic directors Petrov and Frederic Franklin in the early 1970s to a contemporary one in the late ’70s and early ’80s under the French director Patrick Franz and then to one focused on Balanchine in the ’80s and ’90s under Patricia Wilde. Current artistic director Terrence Orr says PBT today reflects his vision of a company that does it all, from classic full-length story ballets and masterworks to cutting-edge contemporary works.
A former principal dancer and ballet master at American Ballet Theatre, Orr says he was reluctant to take over the reins at PBT in 1997. “I was perfectly happy with being ballet master at American Ballet Theatre,” says Orr. “I turned down Patricia [Wilde] three times before she finally convinced me to apply for the directorship. Now I wish I had done this sooner. I really love what I do.”
PBT is a mid-size company with an annual budget of $7.3 million and versatile dancers with the technical ability to handle a wide range of styles. “I think the company now is the best I have had in my tenure here,” says Orr. “We have some really strong dancers who are not intimidated by anything.”
High-flying, Japanese-born principal Daisuke Takeuchi agrees that the company’s dancers display a knack for versatility. “Everyone can dance the classical repertoire, plus each individual has their own unique strengths in other areas,” says Takeuchi.
Fellow principal and Pittsburgh native Erin Halloran, now in her 18th season with the company, says, “I am really impressed with how our corps de ballet dancers can quickly pick up very challenging choreography.”
PBT’s repertoire includes some 116 dance works ranging from Fokine, Petipa and Balanchine to Paul Taylor, Twyla Tharp, Jirí Kylián and Ohad Naharin. A mission to create new works is coupled with a strong sense of traditional storytelling and an occasional infusion of Pittsburgh themes into several ballets, such as Orr’s The Nutcracker and Dwight Rhoden’s StrayLifeLushHorn. This eclecticism gives PBT its unique identity, Orr says.
Like other dance organizations in recent years, PBT has struggled financially, having had to trim staff and curtail its use of a live orchestra. The 2006-07 season, however, ended in the black, thanks to an increase in attendance. PBT’s immediate goals include an increase in touring, establishing long-term financial stability and positioning the company among the top seven ballet companies in the United States.
Steve Sucato is a dancer turned writer/critic based in Erie, PA. He writes regularly for several newspapers.
