This program has been made possible in part by a grant from the Pennsylvania Council on the Arts.

This is a program about Dancers and Dances.

It features the repertory dance company Pittsburgh Dance Alloy core artistic director Elsa Limbach has been with the compan since it began in 1976.

The thing about the Alloy that makes us unique is that we all know that we made up of many different parts, many different dances, many different dancers, many different points of view, and that for any new viewer, there will be something in our work that will appeal to them.

Among the many different dances performed by the Pittsburgh Dance Alloy, our works ranging from abstract to absurd, classical to comical.

One audience favorite is the satirical interpretation of the corporate board meeting.

I think one of the things that that makes people turn off to modern dance is that that they think it's a very, very ultra serious art form.

And we like to, to to reveal the fact that dance has a lot of different possibilities.

And so I think that's one of the reasons why we tend to do humorous works.

One, why we're interested in them.

And we want people to realize that dance isn't something to be afraid of, that it can be very accessible, can also be serious and abstract, but that it has those possibilities.

The dancers are as varied as the dancers themselves, bringing a wide variety of experience to the company.

Sheila Hart Kleiman began her career in classical dance.

I was a professional ballet dancer for a number of years and really sort of needed a new challenge in my life.

When I moved to Pittsburgh, I joined The Alloy in 79 and modern Dance as an older dancer's more challenging to me as an artist.

And so a classically trained dancer became part of this modern dance company.

So perfectly did she blend in that her rival was scarcely noticed.

Behind those sunglasses and wearing the gold maimane was the company's core artistic director, Susan Gillis.

Susan was a dancer in New York City when she was offered a teaching position at the University of Pittsburgh and a chance to join the Pittsburgh Dance Alloy.

I had worked with the Alloy in their formative years.

The first two years I had actually come back from the city and given them some choreography, and so I lived with the chance to come back and perform with a regional company.

I certainly, was doing a lot more choreography and a lot more performing with this regional company than I did in New York, and it was a great opportunity to do that.

Since joining The Alloy, Susan has created a number of dances for the company, satisfying her number one love choreography.

My choreography tends to be very theatrical.

I love to use all kinds of materials.

The more lights, the better scenery, staging, costumes that aren't leotards per se.

I really like the theatricality of dance, and a lot of my pieces do reflect that.

Susan's theatricality and humor came together in court dances, working with composer Steven Block.

They presented the Battle of the Sexes as a sporting event.

Unsportsmanlike conduct.

Tripping.

Illegal use of the hands.

Touchdown.

I had to, do a peaceful Pittsburgh, black theater dance ensemble.

And I wanted to give them a piece that was very different than anything.

And they had had their repertory.

And I came up with this work.

Absurd, comic piece about the problem of two women having to dance with one man.

Serenade was a piece that was developed with the Pittsburgh New Music Ensemble.

This musical was written by Jackson Hill, and it was a project that I had elected to work on.

I wanted to serve a certain atmosphere that was captured in this dance.

Basically, an abstract, impressionistic piece.

In addition to their roles as performers, these three dancers all have additional jobs behind the scenes.

A tight budget keeps the staff small, and the business of running and maintaining a professional dance company places many responsibilities on each member.

There's also the realization that the body wears out.

And one day the ability to perform will end.

I think if I wanted to, I could probably dance as long, you know, quite a few years more.

But I don't know if I really want to keep up that level.

Technical expertise for myself for that many years.

It's very, very difficult.

As Susan anticipates a career as choreographer, Sheila contemplates the day when she must choose between performing and teaching as a teacher.

I learn more about myself as a performer, so they really come hand in hand.

And, I don't think that I'd ever have to make the choice.

I think that I would decide to not perform because I would choose to teach.

But that's a way down the road, I think, and also carries many responsibilities for managing the company.

But dancing still comes first.

Hopefully I will spend the next several years performing as much as possible.

That is the driving force behind what I've done.

In order to put the company together is to give myself a place to perform.

And that's what I, when I like to do the best.

I imagine sometime later in my life, then I will then concentrate on the management aspects of dance.

And I think I'll always be involved in dance.

Tomorrow will bring new roles to each of these women, but today their hearts belong to the Pittsburgh Dance Alloy and their energies go to the dance.

In this union of dancers and dances.

This program has been made possible, in part by a grant from the Pennsylvania Council on the Arts.