PBT season offers ‘Gatsby,’ Harlem Dance
Pittsburgh Ballet Theatre’s 2018-19 season will be marked by new ballets, more live music and a farewell to one of its longtime principal dancers.
Plus, as the calendar turns to 2019, PBT will welcome its golden anniversary with a new production of a classic story — a prelude to even more anniversary festivities to come throughout 2019-20, its official 50th season.
The curtain will rise on its next mainstage season in October with “Mozart in Motion,” accompanied by the PBT Orchestra. The lineup brings together works — some classical, some contemporary — all inspired by Mozart compositions.
The program will include Czech artist Jiri Kylian’s “Petite Mort,” last staged here in March 2015 and danced to three Mozart piano concertos. New for PBT by Mr. Kylian will be “Six Dances,” billed as a “comedic clash of the classical and contemporary” in which dancers wear powdered wigs and work with props.
Also on the program will be George Balanchine’s “Divertimento No. 15,” a neoclassical ballet that shares its name with Mozart’s score. It hasn’t been danced by PBT since 2003, but artistic director Terrence Orr thought it would be a fitting farewell piece for principal dancer Julia Erickson, who announced earlier this month that she would leave PBT in the fall after 17 years. “The content of the show is a great match for me on more than one level,” she said. She’s a Balanchine trained dancer who’s danced principal roles in a number of the late choreographer’s works.
In time for the holidays, PBT will revive for the 17th season Mr. Orr’s Pitts burgh“Nut cracker,” peppered with local references and historical landmarks. This time, PBT plans to add a few more performances to cater to the ballet’s popularity.
A crown jewel of next season is a new production
of Jorden “The choreographer Morris, Great Gatsby” the also Canadian behind by (2011, PBT’s 2016) and “Peter “Moulin Pan” Rouge: The Ballet” (2013). F. Scott Fitzgerald’s tale of romance, recklessness and revelry in the Roaring ‘20s will be brought to life with cinematic sets based on Peter Farmer designs and an original score by Carl Davis performed by the PBT Orchestra. As the first production of 2019, “The Great Gatsby” will help PBT ring in its 50th year. Given the company’s longtime ties with Mr. Morris and the late Mr. Farmer, Mr. Orr thought this collaboration on a new “Gatsby” would be an appropriate way to commemorate centric the milestone, he said. Next March, PBT will return to the August Wilson Center for African American Culture for an encore performance with Dance Theatre of Harlem, presented in partnership with the venue. When the companies teamed up in 2017 — the first time PBT ever shared the stage with another professional company for a mainstage show — the nine performances were sold out. For the reunion, they’ll share signature works from their respective repertoires and dance together in Stanton Welch’s “Orange” (Antonio Vivaldi music).
PBT will cap its 2018-19 season with the family favorite “The Sleeping Beauty,” with the PBT Orchestra playing the Tchaikovsky score. In it, compelling choreography after Marius Petipa combines with fairy tale charm, last danced by PBT in fall 2009.
Subscriptions start at $81 and are on sale at www.pbt.org or 412-4549107. Single ticket sales will open Aug. 7 online or by calling 412-456-6666.