“I was tricked into it,” says Pittsburgh Ballet Theatre artistic director Terrence S. Orr, recalling his introduction to ballet. As a young boy, he wanted to learn acrobatics, but when there wasn’t a beginning class available, the studio owner put him in ballet. By the time he realized he’d been duped, Orr was already enjoying it. He kept dancing, becoming a principal with San Francisco Ballet by 17. He then rose through the ranks at American Ballet Theatre, where he also served as ballet master and répétiteur.

These days it’s hard to imagine the forthright but affable Orr, now 72, being fooled by anyone. His commanding presence and clarity of purpose have helped position PBT as one of the nation’s top regional ballet companies and training schools.

Orr coaching principal Julia Erickson durin ga rehearsal for La Bayadère (photo by Aimee DiAndrea, courtesy PBT)

In 1997, Orr replaced former New York City Ballet star Patricia Wilde as director of the company, which was founded in 1969 by Nicolas Petrov and Loti Falk. His accomplishments at the AGMA-participating troupe are noteworthy. After guiding PBT through financial troubles in the early 2000s, Orr oversaw the remodeling of its five-studio facility and acquired housing for out-of-town high school students in PBT School’s pre-professional division. Most recently, he spearheaded another expansion of the school, including two new studios and a wellness center.

Orr’s vision for the company goes back to when he applied to be artistic director. While Wilde had introduced more Balanchine works to PBT, Orr advocated for a more varied repertoire of full-length classics, famous ballets the company had never done and brand-new creations.

In recent years, he has pushed to expand all three facets of that approach. “My dancers are a very talented and strong group from the corps up to principals,” he says. That confidence in his artists has led to PBT’s first full-length productions of La Bayadère and Le Corsaire; Pittsburgh premieres of influential works by Jirí Kylián, William Forsythe, John Neumeier and Jean-Christophe Maillot; and world premieres by Dwight Rhoden and Viktor Plotnikov. With that, the company’s budget has also grown from $7.3 million in 2010 to $9.8 million in 2016. This October, PBT will open its season with another ambitious production: Orr’s newly restaged Giselle.

Principal Christopher Budzynski is just one of the dancers attracted to PBT’s diverse repertoire. He describes Orr as a “very demanding but friendly and nurturing director. He encourages us not to be afraid of trying different things and doesn’t hold it against us if we fail.” Budzynski also likes the diversity at PBT. “The company is not cookie-cutter. There are different body types and personalities.”

Dancers tend to stick with the company for many years. Principal Julia Erickson, now in her 15th season, says, “we are everyone else’s cheerleaders. There is a respect for hierarchy, but a support system exists within the ranks.”

Dancers also benefit from the expert knowledge of Orr’s wife, company ballet mistress and former ABT star Marianna Tcherkassky. “It’s an education for them to have a ballerina of her stature around,” says Orr. Though he expects his dancers to work diligently and develop as artists, his specific expectations can differ for each person. “I am pretty patient,” he says. “If somebody gets into the company, I know that I have brought them in for the right reasons.”

Orr also encourages his dancers’ own creative interests. Several have choreographed for the school and company, most recently principal Yoshiaki Nakano. Erickson runs Barre, a line of energy bars and wellness products for dancers, with her husband, former PBT member Aaron Ingley.

A newer tradition that makes PBT stand out on a national level is its sensory-friendly performances geared toward children and adults on the autism spectrum. In 2013, PBT was the first American professional ballet company to produce an adapted Nutcracker, and they’ve since performed special evenings of Peter Pan and Beauty and the Beast, with quieter audio, less startling effects and more relaxed house etiquette.

In addition to continuing these performances, Orr says he’d like to add a few dancers to the roster and keep growing the school. He’s also interested in having more live music and touring. All of this upward momentum can be summed up by the person who knows Orr best. His wife, Tcherkassky, says, “Terry points us in a direction and says, ‘Hey, you want to go there? This is how we can do it.’ ”

At a glance: Pittsburgh Ballet Theatre

Number of dancers: 30

Length of contract: 38 weeks

Starting salary: $1,028 per week

Performances per year: 50

Website: pbt.org

Audition Advice

One of the best routes into the company is through the PBT School. The company also holds an open audition in March and accepts videos year-round. If Orr is interested, the next step may be joining the school’s graduate program or being invited to take company class and meet with him for one-on-one interviews.

“The look of the dancer is very important,” says Orr, “and that can be defined in all kinds of ways. I want dancers who are not only great technicians but also gifted actors. An equally important part of the audition process is having conversations with the dancer to get to know their heart and how they will fit in.”

Your Best Body
Pilates hundred intermediate set-up, modeled by Jordan Miller. Photo by Emily Giacalone.

The Pilates hundred is a popular exercise used by many dancers for conditioning and warming up, but it's also one of the most misunderstood. Pumping your arms for 100 counts sounds simple enough, but it requires coordinated breathwork, a leg position that suits your abilities and proper alignment. Marimba Gold-Watts, who works with New York City Ballet dancers at her Pilates studio, Articulating Body, breaks down this surprisingly hard exercise. When done correctly, the benefits are threefold: "If you're doing it before class," she says, "the hundred is a great way to get your blood flowing and work on breath control and abdominal support all at once."

To Start

Lie on your back with knees bent and feet on the floor. Nod your chin toward the front of your throat, and reach your fingertips long.

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At just 16 years old, the Bolshoi Ballet's Maria Alexandrova already had the makings of a great artist. In this variation from Coppélia, she portrays the carefree Swanilda with blithe, youthful ease.

When she bounds on stage in her perky pink tutu, you immediately notice her legs–they just go on forever. In the first sequence of steps she keeps her jetés and développés low, but then the phrase repeats and she lets her gorgeous extensions fly. She sails through Italian fouettés and whirls around in piqués en manège that get faster and faster. While she nails all the virtuosic movement, Alexandrova also pays beautiful attention to detail throughout the variation. Even the simplest steps become something exciting, like her precise pas de bourrées beginning at 1:03 that sing with musicality.

Swanilda has been one of Alexandrova's signature roles throughout her career. For a fun side by side, watch her perform the same variation almost 20 years later in this video. Although Alexandrova formally retired from the Bolshoi in February, she still performs frequently in Moscow and internationally as a guest artist. Happy #ThrowbackThursday!


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Ingrid Silva and her dog, Frida Kahlo. Photo by Nathan Sayers for Pointe.

You're probably already following your favorite dancers on Instagram, but did you know that you can follow many of their dogs, too? We rounded up some of our favorite dog-centered accounts and hashtags to keep you pawsitively entertained (sorry, we can't help ourselves).

Cora and Maya (American Ballet Theatre's Sarah Lane and Luis Ribagorda)

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Vladislav Lantritov and Ekaterina Krysanova in "Taming of the Shrew." Photo by Alice Blangero, Courtesy Bolshoi Ballet.

If you haven't checked your local movie listings yet for this weekend, hop to it. The Bolshoi Ballet in Cinema series and Fathom Events is broadcasting a performance of Jean-Christophe Maillot's The Taming of the Shrew to theaters nationwide on Sunday, November 19. (To see if it's playing near you and to purchase tickets, click here.) While the rest of the Bolshoi's cinema season features 19th- and 20th-century classics, The Taming of the Shrew gives audiences a chance to see the revered Moscow company in a thoroughly modern, 21st-century take on Shakespeare's famous play.

Aside from a limited run in New York City this July, American audiences have had little exposure to Maillot's 2014 production. To learn more, check out these two exclusive, behind-the-scenes webisodes below. Principal dancer Ekaterina Krysanova, who stars as the hotheaded Katharina, gives an intimate play-by-play of two major scenes in Act I. The first is her fiery rejection of three potential suitors (who all would prefer to marry Katharina's younger sister Bianca).

The second scene breaks down Katharina's first encounter with Petruchio (danced by the larger-than-life Vladislav Lantritov), the only man who seems to be able to challenge her. Here, too, we see the shrew's heart start to soften. (Don't miss her time-stopping attitude turn at 4:27.)

The Bolshoi Ballet in Cinema Series continues through June; for more details on upcoming screenings, click here.

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Smuin Ballet dancers Erica Felsch, Rex Wheeler, Mengjun Chen and Tessa Barbour in "White Christmas," choreographed by dancers Ben Needham-Wood and Michael Smuin. Photo by Keith Sutter, Courtesy Smuin Ballet.

Nutcracker-ed out? Or just can't get enough holiday ballets? These unique Nutcracker interpretations and non-Nutcracker productions will make your season bright.


The Hip Hop Nutcracker

Through December 30

Tchaikovsky's masterful Nutcracker score isn't just for classical ballet…

Hip Hop + a live DJ + an electric violinist unite in The Hip Hop Nutcracker, currently touring the U.S.

Familiar characters such Drosselmeyer, the Nutcracker, Mouse King and Marie (here called Maria-Clara) dance through an updated New York City storyline with choreography by Jennifer Weber, artistic director of the Brooklyn-based theatrical hip hop company Decadancetheatre.

Premiered in 2014, The Hip Hop Nutcracker is produced by New Jersey Performing Arts Center.

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Jurgita Dronina as Kitri in "Don Quixote." Photo by Angela Sterling, Courtesy National Ballet of Canada.

When Jurgita Dronina first danced Kitri for a guest performance of Don Quixote with Teatro Filarmonico-Fondazione Arena Di Verona, she was in essence cast against type. "Before Kitri, I was dancing only lyrical or dramatic roles, so I had to start from scratch in finding my own signature in the steps and my own interpretation of the character," says Dronina, who was dancing with Royal Swedish Ballet at the time.

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