Under artistic director Terrence Orr, Pittsburgh Ballet Theatre has developed a theatrical path reminiscent of his alma mater, American Ballet Theatre, one of a few American companies to do so. Most others have built some variation on the speed and contemporary flair of George Balanchine’s New York City Ballet.
Mr. Orr mounted four separate casts for the company’s latest encore of Swan Lake, which produced backstage drama all its own when it was reduced to three. Read about it in the Pittsburgh Post-Gazette.
His balletic philosophy will apparently continue as PBT celebrates its 45th anniversary season next year, where four of the productions will be large and classically oriented. Given classical ballet’s limited full-length repertoire, we will again see The Sleeping Beauty, always a challenge for the company due to its pristine technique, and the annual Nutcracker.
Mr. Orr has also chosen La Bayadere, another Russian masterpiece, full of exotic aromas. He has subsequently reached into his own past for Lew Christensen’s Beauty and the Beast, a marketable title and apparently garnering good reviews, but choreographed in 1958.
That leaves the singular repertory night, next year moving from the August Wilson Center, currently an arts question mark due to financial difficulties, back to the Byham Theater.
PBT only announced Dwight Rhoden’s 7th Heaven, created for the larger Benedum Center stage and panned when it was condensed for the smaller Joyce Theater in New York. It will need trimmed for the Byham.
The other two ballets on the program were not announced. They will celebrate “innovations from its 45-year collection.” I would like to suggest Ohad Naharin’s Tabula Rasa (1986), by far the best commission that PBT has produced (I can still see it), a ballet that has been performed all over the world with PBT’s name attached.
And then there is the obvious — a brand new commission for Pittsburgh native Kyle Abraham and a harbinger for a bright future as PBT nears its 50th. He recently received the MacArthur “Genius” Award and was tapped by Wendy Whelan, principal with New York City Ballet and one of the premier ballerinas dancing today, for a duet commission in Restless Creature. Why not give him a chance?
But then, you might have some other suggestions. Email me at firstname.lastname@example.org.