Adam McKinney pressed play on his laptop to show me scenes from Barak Marshall’s Monger, part of Pittsburgh Ballet Theatre’s next Spring Mix. I was transfixed. The movement of the dancers is staccato, sharp, and deeply emotional. The ballet so beautifully interprets the themes of hierarchy, class struggles, and the compromises of survival that a snippet made me teary-eyed. Between the dialogue of the actor/dancers and the muted tones of the costumes and lighting, this dance pulled me into a desperate world of forced labor and abusive servitude.
McKinney, artistic director of Pittsburgh Ballet Theatre, explained exactly what the dancers conveyed, “It’s almost like they have to peel away the layers of what performance allows, and to go deep into themselves — to be themselves within the context of the choreography. Near the end, they all show their anger.”
In addition to Monger, Mark Godden’s Angels In The Architecture, set to Aaron Copland’s evocative “Appalachian Spring,” will also join Spring Mix. McKinney selected this piece to celebrate the 100th Anniversary of the Graham Company and to honor Pittsburgh native Martha Graham. Then there will be a world premiere from acclaimed choreographer Garrett Smith. This work will showcase Smith’s sophisticated style, which combines contemporary aesthetics with classical vocabulary. And finally, the Spring Mix will feature two Swan Lake selections — the Siegfried solo and the Act II Pas de Deux — both choreographed by McKinney.
Programming switches aren’t the only changes McKinney has made since taking the helm in 2023. And Pittsburgh Ballet Theatre, as a whole, has made some notable, positive strides since shortly before his arrival.
In December 2024, I attended The Nutcracker with my daughter — something we do every year. And for the first time, I noticed differences in the names of the Act 2 dances, differences that helped to heal the 13-year-old girl, who was once me, dressed in a Chinese-inspired costume and pointe shoes, waiting in the wings to go onstage. One of the dance moms came over to touch up my makeup and said to me, “We need to make your eyes look more Asian,” and I felt a horrible rush of shame.
I knew there was something wrong with representing a beautiful culture outside of my own onstage, and not in the most respectful way. As an adult, I still feel a tinge of ickiness from the cultural appropriation I represented that season.
Marianna Tcherkassky, who retired from PBT at the end of the 2022-2023 season after 26 years serving as a rehearsal director, was behind the renaming. She told McKinney when he arrived that the Act 2 “nationality” dances or divertissements were renamed in ways that would express the tone of the choreography and the feelings they were meant to evoke.
With a desire to be more respectful of all cultures, PBT and other dance theaters around the country have implemented name changes to the incredible Act 2 dances in The Nutcracker. In the original 1892 ballet, the dances were “Chocolate (Spanish Dance),” “Tea (Chinese Dance),” “Coffee (Arabian Dance),” and “Trepak (Russian Dance).” The new names implemented by PBT are “Jubilation,” Joy,” “Elegance,” and “Exuberance,” respectively.
In March 2023, McKinney took over as the artistic director for the PBT, the first person of color to do so in the company’s history. He’s been a teacher and a dancer with some of the world’s most renowned dance companies. As a leader, his brilliance and kindness could nearly overshadow his vast experience. His thoughtfulness is genuine, as is his support and care for the community, which makes his plans for growing relationships and increasing inclusivity more evident. Anyone can speak with him and the PBT staff anytime they attend one of the company’s shows.
During the intermission of The Nutcracker last year, my daughter and I walked through the crowd to grab refreshments. During that time, I noticed and briefly thanked McKinney, who was wearing a nametag, for a beautiful program; I spoke for a few moments with PBT’s executive director, Nicholas Dragga, in the foyer; and I got to spend time chatting with the dean of Pittsburgh Ballet Theatre School, Raymond Rodriguez, while waiting in line to grab a photograph with the Sugar Plum Fairy.
When asked about the meet-and-greets, McKinney beamed. “[They] are intentional, yes, and for no other reason than to just develop relationships. There’s not an ulterior motive there or anything. It’s really just about the way we are as an organization now, and ensuring that everyone knows that they belong here.”
McKinney and PBT’s Education and Community Engagement Department developed a specific program called “Tea with the Ad,” welcoming people to participate in an open and candid conversation about who PBT is now as an organization, and the direction in which it’s going.
McKinney also considers accessibility important. For one, PBT will continue to lead and expand upon its sensory-friendly programming. “We will increase the number of performances to which people would like to attend that involve our sensory-friendly programming, specifically as we look to our new Nutcracker in 2027. We’re also looking at incorporating sensory-friendly ideas within the production so that everyone has access to the work.”
There is also adaptive dance programming at PBT, including a program called “Afternoon of Enchantment.” Young people are invited to learn about a particular ballet and participate in that work. This year, the program is associated with The Nutcracker. McKinney plans to expand and also to incorporate sensory-friendly programming into it.
At the same time, PBT will continue its Dance for Parkinson’s work and expand that program. They also recently started working on Dance for Alzheimer’s. “Having had family members who have had Alzheimer’s and, currently, with Parkinson’s, that work is close to my heart,” McKinney says. Increasing pathways to understanding and participating in ballet is one of PBT’s goals.
Offering dance education to those who cannot access it for financial reasons is also on McKinney’s radar. “As we look to the intersection of education and community engagement and PBT school, we’re looking at offering more programming in Pittsburgh Public Schools to more young people and to allow easy entrance into falling in love with ballet.” There is also a scholarship program at PBT for young students.
All this, despite heading an arts nonprofit during trying times. “I think that there are opportunities to look at where we perform and to diversify the locations in which we perform. My goal is for people to understand what ballet does for us, which is for us as people, as Pittsburghers, it’s a natural unifier. It’s difficult to perform ballet alone, and it’s important to understand the intricate possibilities therein.”
McKinney also touched on educating people of all ages, whether as students or fans, inviting them to participate in PBT.
Another one of McKinney’s future goals is to start a second company — a company of younger dancers who perform locally, regionally, and nationally, in preparation for becoming professionals. “I think therein is an opportunity for us to increase the number of performances that we offer, to increase the number of touch points in the community, and to link the community and the company … I envision it is that the second company will also work with the school with a focus on education, training, and performance.”
This program, says McKinney, prepares young people for the rigors of what it means to be a professional dancer. “There’s room for it here, and I’m excited about building that in the next few years.”
In terms of programming, PBT will bring back some old favorites, including The Nutcracker, and offer new and exciting ballet performances for the 2025-2026 season. Horror lovers will delight when they open with Dracula, last performed in February 2023, just in time for Halloween weekend. In celebration of the 250th anniversary of the United States, America 250 will be performed with the PBT Orchestra. Next comes Spring Mix, followed by one of my favorite ballets, A Midsummer Night’s Dream.
The Nutcracker will always be a favorite tradition for thousands of Pittsburghers, including myself, a former ballerina with a love for the production, despite its former flaws. But, like many ballet companies, there is an intentional move away from the old historical way of being while honoring the beauty and wonder of the original ballet.
McKinney says, “I’m making small tweaks here and there, both to our current Nutcracker, which was choreographed in 2002 by the then artistic director Terrence S. Orr, and to other areas of the organization. We look forward to our new production in 2027, and we’ll share more about that in time.”
This article appears in Jun 11-17, 2025.
