Even though Diana Yohe has danced in the Pittsburgh Ballet Theatre’s The Nutcracker production for more than ten years, and has perhaps watched 200 performances, there is something about that Christmas season ballet that is still magical to her. “I think a lot of my colleagues would also agree that every show is still spectacular. It’s about Christmas, which a lot of people hold close to their hearts. It’s a beautiful time of year, but the story itself is about love and how it can redeem anything,” she said.
Yohe, 30, has been with the Pittsburgh Ballet Theatre since starting as an apprentice in 2013 and has been a soloist since 2017. She said she has probably danced every female part that there is in The Nutcracker, including having danced with her husband before he retired from professional dance last year.
Yohe is one of 32 artists who comprise the Pittsburgh Ballet Theatre company, a cultural organization that is celebrating its 55th year. The company was founded in 1969 by Nicolas Petrov and Loti Falk, and today it is regarded as one of the premier ballet companies in the United States.
Originally from Milwaukee, Artistic Director Adam W. McKinney, who has had a long professional dance career with many organizations, brought his expertise to the PBT when he took over in March of 2023.
“It’s been a wonderful, exciting time for me and PBT as we move into this next era for ourselves and as we continue to centralize classical and contemporary works. We will continue to prioritize classicism in our work and at the same time, support audiences in understanding dance, what dance is, what dance does,” said McKinney of his vision for the PBT. He added that he wants to continue to create more pathways for dance education through the PBT’s school and through community engagement.
He also has plans to bring in new choreographers to inspire both artists and audiences as well as expand pathways for education.
As a leading ballet company, McKinney said that the PBT stands out in its internal culture, with artists taking leadership in their work, and that the artists exhibit “…a particular collegiality, friendliness and care that is different from other ballet environments I’ve worked in,” he said, adding that he loves the Pittsburgh audiences as well, as there is a great deal of support for arts and culture in this city.
Each season PBT produces five ballets, including the much beloved holiday ballet, The Nutcracker, featuring the music of Tchaikovsky. The current version, choreographed by former PBT artistic director Terence Orr, is replete with subtle— and not so subtle— nods to Pittsburgh, from the classic Kaufmann’s Clock to the Heinz logo to Kennywood to Terrible Towels and more. McKinney said that Pittsburgh pride being quilted into the ballet is one of the ways in which both the production and PBT stands out: “The pride in community is part of everything we do,” he said.
An updated Nutcracker version is in the works for 2026, which McKinney describes as all new with spectacular sets, new costumes, and choreography, but elements of Pittsburgh will still be visible in the production.
The 2024-2025 season started with Peter Pan. After The Nutcracker, which runs December 6-27, the company will go on to perform Romeo and Juliet; Spring Mix: 5 for 55, a selection of five works to commemorate PBT’s 55th year; and will conclude with The Wizard of Oz.
PBT’s company of artists come from PBT’s own school and graduate program, from other ballet companies, or from university dance programs. All dancers must audition in order to be offered a place, with positions ranging from apprentice, corps de ballet, soloist, or principal. Last year, the ballet had 900 applicants.
Ariana Chernyshev has been studying ballet since the age of four, and it is a dream come true for the 24-year-old ballerina to be dancing with the Pittsburgh Ballet Theatre. “Both of my parents were professional ballet dancers, so it’s always been part of the family culture. I never felt any pressure, but dance is in our family. I’ve loved it since I was little, and my love for it has grown as I’ve gotten older,” she said.
Chernyshev, who trained with PBT, joined the company as an apprentice in 2022 and has been part of the Corps de Ballet since 2024. She said the PBT’s commitment to excellence is what appeals to her. Like Yohe, she will be dancing in the upcoming Nutcracker production.
Chernyshev remembers going to the ballet with her parents as a child. “I remember watching and being so in love with the dancers; they were so inspiring. My first time in the Benedum was when I was in The Nutcracker as a kid. That was so magical; it really was life-changing for me,” she said.
This feeling of magic, of being transported, is what McKinney hopes every audience member takes away from the ballet. One of McKinney’s primary goals as director is that ballet be accessible to everyone in the community. In addition to sensory-friendly performances, McKinney wants the public to feel welcomed and secure in the knowledge that something in the ballet will resonate with them.
“What people will experience is a warm welcome. My hope is that they will understand how pleased and excited we are that they have chosen to spend an afternoon or evening with us. I hope people will experience the joy and magic of our performances and of ballet,” said McKinney.
Yohe agrees that there is something for everyone at a PBT production. “What is so beautiful about ballet is that it is the one form of expression that expresses without speaking. When I was younger, I had a harder time expressing myself through words, as I was very shy, and dancing really brought me out of my shell. There is always, I feel, something that anyone can enjoy. I find that in every production, you’re going to find something you can appreciate.”
McKinney agrees that ballet is for all people, not just for a select few. “Community is important and is central to everything that we do from curation to season selection to programming. PBT is one of the top ten ballet companies in the US, and we will continue in the strong legacy of our position. I understand that we have a responsibility both for Pittsburgh and for the field to continue to embody that standard.”
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