Pittsburgh Ballet’s Adam McKinney on his career

Pittsburgh Ballet Theatre’s Adam McKinney may have settled in, but he hasn’t settled down. One year into his tenure as artistic director, he is just getting started.

“What don’t I enjoy most about my job?! I love that every day is different,” says McKinney, the ballet’s seventh artistic director who just celebrated his first anniversary with the troupe. “I believe that I am in the right place at the right time.” 

The former tenured, associate professor of dance at Texas Christian University invested the last year familiarizing himself with all aspects of PBT’s needs, culture and personalities, plus meeting and greeting the public – he even distributed programs to audience members before curtain.

The Milwaukee native aims to increase performance opportunities, mentor artists and build the repertoire, school, organization and community ties. 

“I want to ensure that everyone knows that they belong at PBT,” says the North Oakland resident, a self-described ballet classicist who was familiar with Pittsburgh and PBT before applying for the directorship. (During visits to his late father, who resided here, McKinney took company class. He has also taught at PBT School.)

Although new to leading a medium-sized, union-affiliated professional ballet company, he has amassed a wealth of experiences through interacting with governmental and non-governmental agencies, by directing an arts organization and from working with his former artistic directors and role models – among them Judith Jamison, Alonzo King and Maurice Béjart.

Currently, he and his 36 artists are preparing for Spring Mix with the PBT Orchestra, a showcase featuring ballets by George Balanchine, Helen Pickett, Jae Man Joo and Yoshiaki Nakano, April 5-7 at the Benedum Center.

McKinney inherited most of the 2023-24 season from his predecessor Susan Jaffe, but was afforded some wiggle room. He is augmenting Spring Mix with world premieres by Joo and Nakano.

“This particular program will be very demanding. We’re starting to build some callus,” he says, explaining that setting high standards for the dancers encourages artistic growth. “My job is to keep pushing the notion of infinite possibilities.”

McKinney instituted a new tradition last May when he announced 2023-2024 roster promotions onstage after the season’s final performance. In September, he designated Nakano, who is a principal artist, and soloist William Moore as choreographers-in-residence through 2025.

“I wanted to honor them in this way. I find Will particularly musical and to be inspired by emotion. Yoshi’s choreographic voice is diverse. Each work has its own idea, its own vocabulary,” he says.

Nakano previously choreographed ballets for PBT’s mainstage and outdoor performances, but is especially excited by his first opportunity to work with the orchestra. He draws inspiration from music but says the premise behind “Violin Pas de Deux,” an eight-minute ballet with music by Max Bruch, “can’t be described with words. My goal is to make a beautiful piece.” 

“Repertoire is the lifeblood of the company,” McKinney says, noting that his choices for commissions are influenced by diversity, equity, inclusion and accessibility. 

“I want to make sure artists of color have opportunities to choreograph on ballet companies with a reputation like PBT’s,” says McKinney, who is of African American, Native American and Jewish heritage.

He offered his first commission to Joo, an assistant professor at Point Park University and resident choreographer for New York City’s Complexions Contemporary Ballet. 

“His work is beautiful and sophisticated. The manner in which he uses unison to develop and define choreography is inspiring,” says McKinney.

“I am really humbled and grateful that he chose me for this commission,” says Joo, who began creating the 30-minute “When Time Stands Still,” last fall. The title refers to that second onstage when the artist “dives into the music. At that moment, time stands still.” He hopes the three-section work projects “what it means to be human, not just a performer. If this comes across, I will be so happy.” 

As part of McKinney’s vision to demystify ballet and increase attendance, the 2024-25 season concentrates on story ballets – “Peter Pan,” “The Nutcracker,” “Romeo and Juliet” and “The Wizard of Oz” – but includes one mixed repertory program. 

“Ballet in the 21st century is different from ballet in the 19th century – thank God it is! I am quite daring [but] I need to first see where audiences are,” says McKinney.

With one PBT ballet to his credit, he plans to choreograph again for his troupe in future seasons and to present works by award-winning choreographers David Dawson of the Dutch National Ballet, New York-based Chanel DaSilva, The Harid Conservatory’s Mark Godden, Jiří Kylián (who has long been affiliated with Nederlands Dans Theater) and Boston Ballet’s Jorma Elo.

Dates are yet to be announced for PBT’s upcoming tour to Dallas-Fort Worth and the Midwest. 

“There is something to be said about a national reputation and an international reputation,” says McKinney, whose wish list includes Jacob’s Pillow in Massachusetts, New York City’s Joyce Theater and locations abroad.

Aside from responsibilities at PBT, McKinney, an award-winning advocate, is committed to advancing social justice. He has previously received grants and fellowships to develop special projects and interact with various populations worldwide. In 2006, he co-founded DNAWORKS, an arts and service organization.

As he seeks opportunities to “build new stories, build new repertoire and expand the footprint of PBT in ways that have not been done previously,” the 47-year-old says, “My hope is that I remain here in Pittsburgh for many years to come.”

Pittsburgh Ballet Theatre performs Spring Mix with the PBT Orchestra at the Benedum Center for the Performing Arts (237 Seventh St.) April 5-7. Tickets.