Pittsburgh Ballet Theatre Artistic Director Terrence S. Orr to Retire After Next Season
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.
He has also championed increased accessibility and educational programming at PBT and the nation's first professional sensory-friendly production of (his Pittsburgh-themed) The Nutcracker.
A succession plan and the formation of a search committee is underway by PBT's Board for Orr's replacement.
"It has been my honor to lead this company," says Orr. "I want to thank the dancers, musicians and patrons who have become like family. You have made my time here something I will always cherish."
For decades the name Alicia Alonso has been virtually synonymous with Ballet Nacional de Cuba, the company she co-founded in Havana in 1948. Alonso died on October 17, just shy of what would have been her 99th birthday. In recent years, she had stepped back from day-to-day decision-making in the company. As if preparing for the future, in January, the company's leading ballerina, 42-year-old Viengsay Valdés, was named deputy director, a job that seems to encompass most of the responsibilities of a traditional director. Now, presumably, she will step into her new role as director of the company. Her debut as curator of the repertory comes in November, when the troupe will perform three mixed bills selected by her at the Gran Teatro de la Habana Alicia Alonso. The following has been translated from a conversation conducted in Spanish, Valdés' native tongue.
"The show must go on" may be a platitude we use to get through everything from costume malfunctions to stormy moods. But when it came to overcoming a literal hurricane, Houston Ballet was buoyed by this mantra to go from devastated to dancing in a matter of weeks—with the help of Harlequin Floors, Houston Ballet's longstanding partner who sprang into action to build new floors in record time.
New York City Ballet principal Sara Mearns wasn't sure she was strong enough. A ballerina who has danced many demanding full-length and contemporary roles, she was about to push herself physically more than she thought was possible.
"I said, 'I can't. My body won't,' " she says. "He told me, 'Yes, it will.' "
She wasn't working with a ballet coach, but with personal trainer Joel Prouty, who was asking her to do squats with a heavier barbell than she'd ever used.
Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"
At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle with Ballet Theatre, she staked her claim to that title role.
Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.