Pittsburgh Ballet Theatre just concluded its opening performance series in grand style with Balanchine, Forsythe and Kylian. Read about it at the Pittsburgh Post-Gazette.
This was as perfectly balanced a repertory program as PBT has ever presented. Something to note — while the audiences were smaller than the more marketable full-length ballets like Swan Lake, they were more enthusiastic, responding to the masterful choreography. So Pittsburgh dance fans know something good when they see it and, with similar programs, I believe Pittsburgh audiences will warm up to the concept of repertory, with a variety that will undoubtably appeal, at some point, to virtually everyone.
George Balanchine knew that, given his famous quote of having an appetizer, an entree and dessert on the program and he understood the concept of a dance “dessert” better than anyone, whipping up a batch of terrific finales like Western Symphony, Stars and Stripes and the Gershwin-inspired Who Cares?. Gradually audiences (and dancers) will graduate to the more dramatic, full-company likes of his Symphony in Three Movements and Symphony in C.
From this program, it seems, too, that Pittsburgh responds to the physicality of the dance — the array of leaps in Sinfonietta, the breathless slicing kicks of In the Middle, the seemingly unlimited dance landscape of Western Symphony.
Behind the scenes, and speaking of breath, corps member Caitlin Peabody, as fiery in Middle as her hair, said that there was a part in this deceptively difficult ballet where she literally felt that she couldn’t catch her breath. As it turned out, choreographer Forsythe sent a message to “breathe.” And repetiteur Agnes Noltenius, one of the three top-notch artists who set the trio of ballets, reminded the dancers at the dress rehearsal. It worked, resulting in a satisfying breadth of movement as well as a breathable flow of movement, confident and articulate, something that is not always present with this company.
Once again, repetiteurs have transformed PBT, the last one being Shelly Washington in the Twyla Tharp program of Nine Sinatra Songs and In the Upper Room in 2013. And it would be hard to improve on this program. If anything, there could have been a newer work, maybe a commission or a ballet conceived within the past five years. Newer works build a company’s reputation — it’s more difficult to measure up to the international standard seen on YouTube and assorted films created in the classical tradition.
As a bonus, photographer Martha Rial had a free time slot and captured some of the memorable movements of Sinfonietta with her lens. If anyone would like a copy, contact her at email@example.com.