10 Minutes with Trey McIntyre
A year and a half after closing his company, the choreographer continues to bring dance to film, photography and the stage.
Photo from McIntyre’s upcoming book, Private Idaho. Photo by McIntyre.
The dance world gasped when Trey McIntyre announced in 2014 that he was shutting down his company, Trey McIntyre Project, after six wildly successful years as a full-time troupe. The dashing dancemaker, currently traveling around the country, always had a hand in other projects, such as film and photography, so his next chapter as an independent choreographer/filmmaker/photographer was already in motion. As McIntyre works on both books and a film, he’s also making new dances: The latest, for BalletX, is slated for a February 10–14 premiere at the Wilma Theater in Philadelphia.
What is the new work for BalletX about?
I am using music by Amy Winehouse. Usually, I don’t focus on biographical info, but I am interested in Amy’s story. I identify with portions of her process as an artist, and her death really affected me. It was so tragic. The ballet explores parts of her life that I resonate with. She had a different way of bringing herself and her art into the world; her struggle with that was her eventual undoing. She was miserable, inconsolable until it was right. The world was terrible until she figured out how to make it into art.
What’s the best part of your life now that your company has closed?
I’m able to return my focus to being an artist, and make that the principal activity of my life. It feels like I’m getting back to myself.
What’s been most difficult?
I was always so proud of how nimble TMP was, and I had an amazing staff that made that possible. Now, if something needs to be done, it has to be me doing it.
Tell us about the film you’ve been working on.
This Used to Be My House is about the life and death of a dance company, and my personal journey through that process. This is my first long-form documentary, so I am learning so much every day. As with most documentaries, you learn what it is about after you shoot it. It’s turning out to be autobiographical, with a big focus on the dances I made during the course of the company, especially the two ballets using the music of Preservation Hall Jazz Band from New Orleans, The Sweeter End and Ma Maison. Those pieces examined the unique culture around death in that community, and the film draws metaphorical parallels to the life and death of TMP.
And I understand there are book projects underway as well.
Yes, two, actually! Private Idaho includes nude photos of athletes in the gorgeous terrain of Idaho, with my essays and an intro by actor Alan Cumming. It should be out in a year or so. The second book is about how dancers relate to the place they call home. You can get an idea of my photography from my Instagram, @treymcintyrephoto.
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.
Last night, American Ballet Theatre held its annual Fall Gala at the David H. Koch Theater in New York City. To celebrate ABT's artistic director Kevin McKenzie's 25 years of leadership, dancers from ABT's company, apprentices, studio company members and students from the Jaqueline Kennedy Onassis School took to the stage in Jessica Lang's The Gift, Alexei Ratmansky's Songs of Bukovina and Christopher Wheeldon's Thirteen Diversions.
But we also love a good behind-the-scenes glimpse—especially when designer gowns are involved. And the dancers gave us plenty of glam looks to obsess over once the curtains closed. Ahead, see our favorite moments from gala straight from the dancers.
Last week Ballet West breezed into New York City's Joyce Theater from Salt Lake City. The dancers are excellent—especially the women (what else is new). The company brought five pieces including works by Gerald Arpino, Val Caniparoli and resident choreographer Nicolo Fonte.
Arpino's last work, made in 2004, is a duet called RUTH, Ricordi per Due ("remembrance for two"). It's about a man haunted by the memory of the woman he loved. Christopher Ruud is strong and sensitive as the man, and Arolyn Williams is riveting as the ghost of his beloved.
Val Caniparoli energizes his dancers with juicy movement, and always sticks to his theme. (He doesn't ramble, and let's face it, long rambling choreography is a problem these days.) In his premiere for Ballet West, Dances for Lou, he takes on the music of Lou Harrison, a composer known for his Eastern sounds and rhythms.
Photo by Filip VanRoe, courtesy Marquee
Your Saturday nights are about to go from "Netflix and chill" to "Marquee and chill." (Okay, maybe we'll need to coin a new phrase).
But seriously, the new streaming app Marquee Arts TV lets you curl up with Bolshoi Ballet's Swan Lake, Sylvie Guillem dancing Mats Ek's solo Bye, a dance film by Cullberg Ballet called 40 M Under, or a documentary about Alonzo King and LINES Ballet. Marquee unlocks a world of digital arts: dance, theater, opera, music, documentaries and film shorts that you can stream directly to your TV or mobile device.
When Simone Forti moved from California to New York City in 1960, she brought with her the improvisational approach of Anna Halprin. As one of the first five students in Robert Dunn's John Cage–inspired composition course (that led to Judson Dance Theater), she was a magnet for two others in that class: Yvonne Rainer and Steve Paxton. This month the three reunite for Tea for Three, an evening of moving and talking at Danspace Project, Oct. 26–28. It's a chance to see how dance mavericks grow and change and mellow. Forti will also give "Body Mind World" workshops Oct. 19–20. danspaceproject.org.
When you're dancing for what feels like eight days a week, it takes more than just stretching to put your body back in order. You need a good rub down. Unfortunately, most of us don't exactly have the money to afford an on-call personal masseuse.
The solution: Self-massage, with foam rollers, lacrosse balls, elbows and anything else that can help loosen up your muscles. We dug into Dance Magazine's archives to find the best pieces of advice we've published on the topic. Follow these rules to get what you, ahem, knead out of self-massage.