The mixed repertory program featured two Pittsburgh premieres and one classic, all choreographed by masters of ballet. 

By Britt Haefeli

A classic night at the ballet floats you through stunning movements with flawless accompaniment. The beauty of the three acts in this performance maintained a continual strength and held palatable emotion that kept the audience wanting more.

If the dancing and movement work in the Pittsburgh Premiedre of First Flash created by Jorma Elo weren’t enough to awe you, the dazzling lights memorialized the original performance that premiered in 2003 with Nederlands Dans Theater and gave this first act a sense of nostalgia and longing that stayed with you into intermission. The piece was set to Jean Sibelius’ “Violin Concerto in D Minor,” giving the audience a taste of this turn of the 20th-century composer. Sibelius, known as the “People’s Composer of Finland,” was gorgeously represented by guest conductor Ormsby Wilkins. Dancers, in minimal costuming, dawned in tones of deep amber, flowed on the stage with an apparent strength guiding their movement. This style, coined as “Ultra-modern” ballet, held such jarring movements that then softened and would melt into the next. 

Act 2, Polyphonia‘s Pittsburgh premiere, was the core of this production. The storytelling in these numbers choreographed by Christopher Wheeldon had a heaviness to them, pairing with the romantically enigmatic works of George Ligeti. We watched as multiple stories began and ended, some in happiness, others in heartache. The contemporary pieces held many photographic moments, one of a relationship ending in brutality, bringing gasps to the viewers. The four couples featured were dressed in tones of purple and deep burgundy, contrasting with the grays and yellows shown throughout the performance. The lighting design by Mark Stanley was indeed something to behold. The gorgeous shadows playing behind the opening and closing movements echoed the emotions of the performance, elevating the dancers’ motions. 

George Balanchine‘s Theme and Variations starkly contrasted the first two-thirds of the performance. It featured decadence at its finest in staging and costuming. A magnificent chandelier lowered, and dancers emerged in bedazzling costumes matching the Russian ballet style of extravagance. Of course, it wouldn’t be a classic night out to the ballet without the works of Tchaikovsky. This powerful finale was paired with the final movement of his “Suite No. 3 in G“. This performance had classical solid roots that became more complex as the number progressed. The technique necessary for this piece showcased the Pittsburgh Ballet Theater’s dancer’s ability stunningly. 

Costuming, staging, lighting, and directorial work were all clear and energetic on opening night, bringing the audience on a tour through different historical points with lovely modern spins and adaptations. The production was a delight to witness, and the energy exuding off the Benedum stage could be felt throughout the entire theater, leaving an audience to stand and cheer. The night ended in a lovely nod of appreciation from one soloist to another with the passing of a single red rose, showcasing the teamwork and dedication that brought this performance to the stage.

Pittsburgh Ballet Theatre’s The Master’s Program: Balanchine and Beyond was performed at the Benedum Center April 15-16, 2023.

Coming Next for PBT is their 2022-2023 season finale: The Sleeping Beauty with the PBT Orchestra: May 19-21 at the Benedum Center. More information and tickets at: pbt.org or 412-456-6666. 

Categories: Reviews

Tags: Christopher Wheeldon, George Balanchine, Jorma Elo, Ormsby Wilkins, Pittsburg Ballet Theare, The Masters Program: Balanchine and Beyond