There's a lot more to dance than a Top 10 list, where the performers often don't get enough credit. Here are some of the finer details observed during the past year -- dancers who are deserving of a second glance.

Pittsburgh Ballet Theatre's Christopher Budzynski arrived last year as a soloist, but with Daisuke Takeuchi injured, he was thrown into a number of starring roles, all of which he performed with considerable aplomb. Artistic director Terrence Orr quickly rewarded him with a promotion to principal artist in the fall, so look for him in PBT's upcoming production of "Fluctuating Hemlines" in February.

Pittsburgh has had a number of expectant dance mothers who have amazed us with their resilience, but LABCO's Gwen Hunter Ritchie set a new standard. When she had her first child, she performed through her fifth month. This time around, Hunter Ritchie took to the stage with her company a week before her due date. Granted it was a more sedentary role, but we hear that she had to use yoga breathing to get through it all. The mother-to-be finished the performances on Dec. 2, despite one quick sojourn to the hospital, and welcomed Scarlett Brenda on Dec. 4. She will be back at the helm for LABCO's performances this spring, maybe on stage.

Dance fan extraordinaire and art collector Richard Parsakian, owner of Eons Fashion Antique in Shadyside, was honored by the AIDS Task Force at Pittsburgh Public Theater and Attack Theatre at its fun-omenal Dirty Ball, both within weeks of each other. His own work was on display when he staged a number of post-performance parties, such as those following The Joffrey Ballet and the Australian Festival. His next "performance" will take place after Les Ballets de Monte-Carlo "Cinderella" in February.

Pittsburgh seemed to be invaded by alien beings when Regional Dance America brought several thousand young American dancers here for its national festival in April, most sporting the hairdo that is de rigueur for ballerinas. They took over the Benedum Center and David L. Lawrence Center, plus other locations, from April 24-28, fully demonstrating Pittsburgh's rising reputation among the national dance community.

When PBT principal dancer Maribel Modrono was injured just minutes before the company's annual appearance at CAPA High School on Jan. 22, Kelsey Bartman stepped into her part. Only a graduate student at PBT, she knew the role because she was the choreographer of "Gafsmit" and appeared to enjoy every minute as she starred with company members. She went on to join Louisville Ballet but will be back for more choreography with the PBT school.

It's the signature of the Georgian State male dancers, noted not only for their athletic jumps, but for their ability to walk, hop and turn on the tips of their toes, which were clad only in soft leather boots. The Nov. 1 performance at the Byham showed why this is one of the world's top folk ensembles and why the Pittsburgh Cultural Trust is putting its stamp of approval on more ethnic dance.

It's important that young companies start off on the right foot, with visions as grand as they can be. Pearlann Porter's The Pillow Project did just that. This contingent of twentysomethings created a yearlong series at Construction Junction, filled with video, graphic and visual art, dance, music and much more that made us sit up and take notice. They already have plans to take the company in a new direction, a great sign for a flourishing dance scene.

Attack Theatre's Peter Kope enjoys the nuts and bolts of dance, but he enjoys the real ones, too. Attack is noted for its custom scenic designs and this year they constructed a bar room for "Someplace, not here," complete with a lobby, angled stage and flat-screen televisions. Next Kope and wife Michele de la Reza will be tackling the vertical space of The New Hazlett Theater this month in a collaboration with noted Japanese composer Somei Satoh.

Sometimes the backstage perspective is just as good as the view from the auditorium. Nowhere is that more apparent than at PBT's "Nutcracker." What may be the most telling is how the company dancers collect in the wings, offering applause and admiration for their colleagues. Company member Makoto Ono held tissues and water for Sugarplum Fairy Erin Halloran between her solos at one recent performance. That sense of mutual support is paying off for the company in terms of confidence and technical assurance.