What's happening in Pittsburgh.

Groundbreaking for the new home of the African American Cultural Center of Greater Pittsburgh, a $34.8 million, multidisciplinary venue, is slated for January 2006. The triangular four-story building will rise on the site of a former strip club, another step in a major downtown renewal initiative. Meanwhile, the AACC, which currently occupies rented quarters, will open its second year of programming at the Byham Theatre, Oct. 1. On tap is Alonzo King's LINES Ballet, co-presented by the Pittsburgh Dance Council.

Around the corner, Pittsburgh Ballet Theatre readies Amedeo Amodio's Carmen for its Oct. 6-9 series at the Benedum Center. The company is also bracing for a box office toe-to-toe with the Radio City Christmas Spectacular.

The AACC's facility will be completed in 2007. "Once our doors open, we plan on collaborating with all the companies in Pittsburgh's cultural district," says Neil Barclay, AACC president and CEO. The center is geared towards arts and education programs focusing on African American culture and history, but Barclay foresees it as a home to community-based arts groups. The center includes a 500-seat proscenium theater with a sprung wood stage floor, full fly space, an orchestra pit, and a multipurpose room suitable for warming up.

Surveys taken during last season's AACC programming revealed that the audience is multigenerational and multicultural. The Alvin Alley American Dance Theater and Philadanco were the biggest draws. "Dance will be a critical part of our programming," says Barclay, adding that the AACC is a 2005-06 National Dance Project hub site and actively commissions works.

At PBT, the company last January acknowledged a $1 million deficit attributed to a drop in subscription renewals and ticket sales. In October 2004, the reprise of Ben Stevenson's Dracula failed to match its previous box office take, while two consecutive Nutcracker seasons generated disappointing receipts. Then, a controversial fundraising plan that demanded a contribution for the best seating locations alienated longtime subscribers, raising cries of "extortion." In response, PBT nixed the unpopular Premiere Circle and lowered single ticket prices to $10-$70. Interim managing director Robert Petrilli (who declined comment) has instituted a reorganization and revenue-generating strategy to eliminate the deficit. It includes paring six performances from the Nutcracker run and consolidating administrative jobs.

"We're doing better than everyone is saying," said artistic director Terrence Orr, who, without citing a budget figure, claims that subscriptions have rebounded and finances have stabilized. However, after negotiations with the Pittsburgh Opera and Ballet Orchestra stalled, PBT decided to settle for taped music for the 2005-06 season.

Orr noted that his 30-member troupe maintains its 38-week contract, continues to perform at the Benedum Center, and produces "the repertory I want." That includes Carmen and a Twyla Tharp/Derek Deane bill slated for March 2006.

However, a 51-performance run of the Radio City Christmas Spectacular is poised to kick Nutcracker in the box office--unless PBT can affect a marketing coup. "PBT must be innovative in the approach and creation of that advertising message," says former director of marketing Gail Murphy. A cross-marketing plan with both holiday attractions should encourage dual--not dueling--patronage.