Pittsburgh Ballet Theatre Artistic Director Terrence S. Orr to Retire After Next Season
Terrence S. Orr with dancers of Pittsburgh Ballet Theatre. Aimee DiAndrea, courtesy PBT.
Change is in the air in Steel City: On Friday Terrence S. Orr announced that, after 22-years as artistic director of Pittsburgh Ballet Theatre, he will retire in June 2020 following the conclusion of PBT's 50th anniversary season.
Orr took the helm of PBT in 1997, succeeding former New York City ballet star Patricia Wilde. Originally from Concord, California, he trained at the San Francisco Ballet School before joining the company and becoming a principal dancer at age 17. He then rose to that rank as a dancer with American Ballet Theatre, where he later spent 19 years as a ballet master before being named PBT's artistic director.
During his tenure, Orr early on guided PBT through financial setbacks and has since overseen growth in the company's budget, ticket sales, school enrollment and campus, including the addition of a 14,000-square-foot annex building with new studios and a wellness center.
Orr and former principal dancer Julia Erickson in rehearsal.
Aimee DiAndrea, Courtesy PBT.
Orr has balanced PBT's repertory with a mix of story ballet classics and masterworks by George Balanchine, Jerome Robbins, Paul Taylor, Twyla Tharp and others; he has also provided a platform for emerging choreographers, including those within the company. His more than 20 new commissions for PBT includes a string of music-artist-themed ballets in the early 2000s to songs by Lena Horne, Paul Simon, Sting and Bruce Springsteen. In recent years, Orr bolstered PBT's repertory with ballets by Jiří Kylian, John Neumeier and William Forsythe along with company debuts of La Bayadère, Beauty and the Beast and Moulin Rouge®: The Ballet.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.
I'd been a professional dancer for five years when I realized the pain I'd been feeling in my hip and down my sciatic nerve was not going away. I had been treating it for two years as we dancers do—with regular visits to my masseuse, physical therapy, baths, ice and lots of Aleve—but I never stopped dancing. It finally dawned on me that if I kept going at the speed I was going (which was, well, speedy), the pain would only get more severe and unrelenting, and I might never dance again.
I told myself I'd take two months off, and all would be better.
That first morning when I woke up at 10 am, I had no idea what to do with myself. My life until that moment had been dictated by class and rehearsal, every hour accounted for. How should I fill the huge swath of time ahead of me?