Review: GISELLE at Pittsburgh Ballet Theatre

Stunning is the only word that comes to mind when reflecting on Pittsburgh Ballet Theatre’s production of Giselle, performed October 23-25, 2026 at the Benedum Center downtown. I attended the Sunday afternoon performance on October 25, and from the opening moments, it was clear that this was something special. One of the great classical ballets, Giselle combines a deeply emotional story with demanding choreography, expressive movement, and an almost otherworldly atmosphere. This new staging by PBT Artistic Director Adam W. McKinney, with Barbara Bears and Steven Annegarn, offered a beautiful interpretation of a work that has captivated audiences for generations. The production was visually striking, with Peter Farmer’s scenery and costumes and Christina Giannelli’s lighting helping establish two distinctly different worlds. But what made the afternoon truly memorable was the way the dancers brought those worlds and the emotions within them to life.

At the center of it all was Hannah Carter as the title character, whose performance was nothing short of extraordinary. The role requires an incredible range of dramatic and technical ability, and Carter navigated its many demands with remarkable grace. In Act I, she captured the innocence and youthful exuberance of a peasant girl discovering the excitement of love with light, expressive movement that made Giselle feel genuine and relatable. As the story unfolded and betrayal gave way to heartbreak, Carter’s transformation was powerful. By Act II, Giselle had become a spirit caught between two worlds, forced to confront her own suffering while determining the fate of the man who betrayed her. The contrast required not only technical precision, but also a complete shift in characterization, and Carter made that evolution feel natural. Her ability to communicate so much through movement alone was a reminder of just how powerful ballet can be as a storytelling art form.

Lucius Kirst was equally compelling as Count Albrecht, bringing the character’s complicated emotions to the stage with a strong sense of purpose. Albrecht must navigate the consequences of his deception while confronting the depth of his feelings for Giselle, and Kirst conveyed that emotional progression effectively, particularly as the tone shifted between the two acts. Colin McCaslin was exceptional as Hilarion, providing a strong presence in a story driven by jealousy, betrayal, and competing affections. Together, these performances gave the central conflict the emotional weight it needed. What impressed me most was how the dancers balanced the technical demands of classical ballet with the dramatic requirements of the story. Beautiful extensions, controlled balances, expressive port de bras, and precise footwork are impressive in their own right, but they become even more meaningful when they serve the characters and their relationships. Here, the technique and storytelling worked hand in hand.

The contrast between the two acts was another highlight. Act I welcomed the audience into a sunny village filled with celebration and the promise of romance. Act II transported us into a much darker landscape, where the Wilis, spirits of women who died before their wedding day, inhabit a mysterious world governed by its own rules. The visual transformation was striking, and the dancing reinforced that shift in atmosphere. The Wilis moved with an almost supernatural unity, their synchronized patterns and precise formations creating an eerie sense of inevitability. Even in larger group sequences, their timing and coordination were remarkable. The contrast between the warmth of the village and the cold quality of the underworld underscored the ballet’s central struggle between love and betrayal. It was a compelling reminder that Giselle is not simply a tragic romance. It is also a story about compassion and the choices we make when faced with profound hurt.

Adding another dimension to the performance was the Pittsburgh Ballet Theatre Orchestra, playing Adolphe Adam’s score under guest conductor Ormsby Wilkins, recently retired as Music Director of American Ballet Theatre. There is something special about experiencing ballet with a live orchestra, and this performance was a perfect example of why. The music breathed with the dancers, responding to their phrasing, supporting their movements, and allowing subtle changes in tempo and dynamics to enhance the drama. The nuances, extensions, and flexibility in the musical performance made the experience feel a way that recorded accompaniment simply cannot replicate. The orchestra played beautifully, providing both the sweeping romanticism and the more haunting textures the story demands. PBT first presented Giselle in 1974, and the company's return to this cornerstone of the classical repertoire, now through McKinney’s new staging, demonstrates the enduring appeal of a ballet that continues to challenge and move performers and audiences alike.

For anyone who has never experienced a full classical ballet, Giselle is a powerful reminder of what the art form can accomplish. For longtime ballet enthusiasts, this production offers plenty to appreciate in its musical performance and emotional storytelling. Pittsburgh Ballet Theatre’s 2026–27 season continues with a particularly meaningful holiday tradition: the final presentation of Terrence S. Orr’s beloved staging of The Nutcracker, running December 4-27, 2026 at the Benedum Center. The season then continues with Alice in Wonderland in February and Spring Mix: World Premieres in April, concluding with The Sleeping Beauty in May, which will again feature the PBT Orchestra. If Sunday’s performance of Giselle is any indication, Pittsburgh audiences have much to look forward to. I left the Benedum Center struck by the power of the music and the ability of these performers to tell such a complex story without saying a single word. 

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