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Companies change with the times

By William Loeffler, TRIBUNE-REVIEW
Sunday, January 1, 2006
Musicians Kathleen Caballero (right) and Zach Smith take part in an Oct. 6 protest against the Pittsburgh Ballet Theatre's decision to use recorded music. THe rally to place outside the Benedum Center on the opening night of the Pittsburgh Ballet Theatre production of "Carmen."

The Pittsburgh Ballet Theatre borrowed from its endowment, bled red ink, hired new management and rolled the dice when they rolled the tape. The Dance Alloy added Theater to its name as artistic director Beth Corning looked to Europe for inspiration. Pittsburgh Dance Council's season was weighted with companies from the American coasts, such as Alvin Ailey American Dance Theatre and Limon Dance Company from New York City, and Alonzo King's Lines Ballet from San Francisco. But the most anticipated dance show of the year were those leggy Rockettes from New York City.

High-kick holidays

The Rockettes left the launch pad Nov. 10 at the Benedum Center. The Radio City Christmas Spectacular, of which they are the most famous part, is a musical revue based on the long-running show at Radio City Music Hall in New York City. It was so middle-of-the-road you'd think it would run over itself, but the precision, high-kicking Rockettes and a robust supporting cast of signers and dancers, led by Santa Claus, charmed the opening night audience with its old-movie, snow-globe vibe.

Live music no more

Instead of tuning up in the orchestra pit, the musicians of Pittsburgh Ballet Theatre Orchestra were pounding the pavement and carrying picket signs Oct. 6 to protest their replacement by recorded music. The occasion was the opening night of "Carmen," the first production of the 2005-06 season. Ballet management said going to tape was necessary to save $551,000 and balance the budget. The musicians, represented by Musicians Union local 60-471, called it a lockout and filed an unfair labor pratices complaint with the National Labor Relations Board. Some subscribers balked at the prospect of ballerinas dancing to canned music, while ballet management said they wouldn't say no if a donor came up with the cash to pay the musicians. A ray of hope emerged in November, when new executive director Harris N. Ferris, met with orchestra representatives for what was described as a get-acquainted session.

Madame Butterfly Ballet in Pittsburgh debut

Pittsburgh Ballet Theatre premiered the ballet version of the classic opera, choreographed by Australian Stanton Welch. It opened April 28 at the Benedum, and featured a touching portrayal of the doomed geisha Cio Cio San by principal dancer Maribel Modrono. Principal dancer Dmitri Kulev played Lt. B.F. Pinkerton, the American who loves and deserts her. Set designer Peter Farmer conjured an opiated vision of the Orient, with swirling fans and magic lantern effects.

Contemporary ballet first

On Oct. 1, Pittsburgh Dance Council opened its 2005-06 season with the Pittsburgh debut of the San Francisco-based contemporary ballet company Alonzo King's Lines Ballet. The company -- four men and four women -- stormed through two pieces at the Byham Theater, including "Koto," a piece set to a minimalist Japanese score by Miya Masaoka, and "Who Dressed You Like A Foreigner." Both were choreographed by founder and artistic director Alonzo King.

Modern Swedish

Created by the late Swedish choreographer Per Jonsson, "Schakt" -- meaning "Shaft" -- was a tense and convulsive trio that was seen for the first time stateside when it premiered April 14 at the Kelly-Strayhorn Theater in East Liberty, produced by Dance Alloy Theater. Artistic director Beth Corning, who saw the world premiere in Stockholm in 1993, was determined to bring the piece to Pittsburgh when she first took over Dance Alloy.


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