By JESSICA NEU

The Pittsburgh Ballet Theater (PBT) returned this weekend with Giselle. This romantic yet dramatic production tells the story of Giselle, a desolate peasant girl who tragically dies of a broken heart after discovering her true love, Albrecht, is a disguised nobleman who is engaged to another woman. However, Giselle’s tenacious spirit rises from the grave to protect Albrecht from a vengeful death. Choreographed by Jean Coralli and Jules Perrot, with later revisions by Marius Petipa, PBT principal artists Hannah Carter, Tommie Lin Kesten, Lucius Kirst, Colin McCaslin, and Grace Rookstool alternate performing in lead roles throughout the production’s run. Jooyoung Kwon, David O’Matz, and Diana Yohe are featured solo artists, performing with the Corps de Ballet Artists and apprentice artists. The brilliant dancers are accompanied by the renowned PBT orchestra as live music and artistry unite in this ethereal production.

True to all PBT performances, the company’s dancing is marked by clarity, agility, fluidity, grace, speed, and precision. They bring a depth to Giselle that supports the story while showing that technique never goes out of style. Perfect pirouettes, partner work, and control flow through the dancers and into the audience as they take turns acting and dancing, while also anchoring the stage as observers to highlight soloists throughout the show. New staging by Adam W. McKinney with Barbara Bears and Steven Annegarn makes Giselle, one of the most demanding works in the ballet repertoire, approachable, light, and dynamic. Giselle debuted in Paris in 1841, and its iconic choreography helped redefine and reinterpret the ballerina’s role by introducing new techniques and stylistic elements that continue to influence ballet today. These stylistic elements specifically include pointe work as narrative illusion and an ethereal upper-body and port de bras style characterized by an elongated neck and soft use of the arms.

Giselle is also a plot-heavy ballet. Drama, romance, hope, betrayal, deceit, true love, sacrifice, and passion are packed into the 2-hour performance. Critics occasionally point to the dense plot, which can lead to an overabundance of choreography that muzzles storytelling and artistry. I would argue that PBT’s staging balances plot and performance, creating a work that showcases the dancers’ strengths as well as their acting abilities. Each principal performer incorporates pantomime that elevates their characters beyond storytelling through dance. You can almost discern exactly what each character would be saying had the story included spoken words.

Each principal dancer attacked their role with confidence, maturity, and veracity. Their connections to one another were palpable while they maintained the physical sturdiness required to execute the demanding choreography. They exuded emotion, even while on releve, leaping or executing 10+ consecutive À la seconde turns. Nevertheless, the dancers find stillness and control amid the drama, and sometimes a simple arabesque or partner lift beautifully cuts through the noise of heartbreak and forgiveness.

Part of what makes PBT’s performance of Giselle so interesting is the opportunity to see different cast members tackle lead character roles throughout the show’s run (October 23-25). Undoubtedly, Rookstoll and Kesten will be a stunningly heartbroken Giselle whose spirit dances lighter than air just as Carter was on opening night. Regardless of the cast, PBT’s Giselle delivers the necessary cathartic moment after nearly two hours of love, lust, betrayal, and heartache. With the PBT starting their 2026-27 season with this nuanced performance of such a challenging piece, I am eager to see the other leaps and turns that are in store for the rest of their season.

TICKETS AND DETAILS

Pittsburgh Ballet Theatre’s production of Giselle with the PBT Orchestra runs now through October 25th, 2026, at the Benedum Center in the Cultural District. Tickets at  https://pbt.culturaldistrict.org/production/105139/giselle-with-the-pbt-orchestra 

Categories: Arts and Ideas

Tags: Adam W. McKinney, Barbara Bears, Benedum Center, Giselle with the PBT Orchestra, Grace Rookstool, Hannah Carter, Tommie Lin Kesten, Lucius Kirst, Colin McCaslin,, Pittsburgh Ballet Theater, Steven Annegarn