Press Acclaim

PRESS ACCLAIM

(CLICK HERE FOR FULL REVIEWS)

"Trey McIntyre, arriving with the title 'Choreographic Apprentice to the Houston Ballet,' is obviously a new face to watch, judging by his Bartok ballet, Steel and Rain."
- Anna Kisselgoff, The New York Times

"McIntyre's Steel and Rain has a theatrical power and meaning that none of the above mentioned [Diamond Project Choreographers] even approached, let alone achieved."
- Robert Greskovic, The Native

"One of ballet's most surprising talents."
- Jennifer Dunning, The New York Times

"Trey McIntyre, the young choreographer of the program's zany, authoritative premiere, was the afternoon's other revelation."
- Jennifer Dunning, The New York Times

"McIntyre may be only twenty-four, but his choreographic skills are as great as those of many choreographers twice his age . . . Anyone who thought Houstonians wouldn't approve of innovation should have heard the applause for the spring program, especially McIntyre's Touched, done to Dave Brubeck's music . . . The audience's pleasure was palpable."
- Valerie Gladstone, Dance Magazine

"Trey McIntyre could hardly have come along at a better time."
- Kyle MacMillan, Denver Post

"When we loll back in the chair and forget that essential element of creativity, someone like tall, young choreographer Trey McIntyre comes along to wake us up."
-Carl Cunningham, The Houston Post

"Trey McIntyre's Mantis is a brilliant accomplishment for a young choreographer."
- Jean Lenihan, Seattle Weekly

"As the opening piece for the Houston Ballet's mixed program at the Kennedy Center on Thursday night, 'Second Before the Ground' proved hard to surpass."
- Nora FitzGerald, The Washington Post

"There was certainly no dancemaker [at Oregon Ballet Theatre] remotely like Trey McIntyre, OBT's Resident Choreographer. Of course, few choreographers anywhere are like him, which may help to account for why he is catapulting himself around the United States and Europe on commissions...McIntyre's fluency and expertise at shaping dance phrases is world-class."
- Mindy Aloff, special to The Oregonian

"To call Trey McIntyre' Peter Pan the most impressive, original, multi-act ballet created by an American choreographer in recent memory doesn't quite do the three-act production justice."
- Robert Greskovic, Dance View

"[Peter Pan], The most important production of the year 2002."
- Robert Greskovic, representing The Wall Street Journal in Ballet Tanz

"While McIntyre learned the craft from Stevenson as the company's first choreographic apprentice, he seems to have surpassed his mentor. Peter Pan is the most fully-imagined, well-told, innovative story ballet to come from Houston Ballet in a long time."
- Lauren Kern, Houston Press

"McIntyre's Peter Pan is a brilliant and true mix of dance and theater and should become a popular classicÉMcIntyre's knack for moving the narrative forward, without resorting to mime or slowing down the action, is astonishing for such a young dancemaker. With or without fairy dust, he has proven his talent and takes his place as one of the top choreographers of the decade."
- Marene Guston, Dance International

"Unlike the hero of his first full-length ballet, Trey McIntyre has grown up. The world premiere of Houston Ballet's Peter Pan on Thursday at the Wortham Theater Center showed the 31-year-old choreographic associate to be a superb storyteller with a kid's heart and an adult's appreciation of life's complexities."
- Molly Glentzer, Houston Chronicle

"In the Washington Ballet's splendid program that concludes this weekend, the jewel in its crown is a world premiere by Trey McIntyre. His new ballet is admirable on many levels. Waves of fresh, imaginative dancing spill across the stage; the movement is both virtuosic and nuanced...the new ballet is a tremendous addition to the company's repertoire. The Washington Ballet has a pattern of seldom repeating a ballet from one season to the next, but The Reassuring Effects of Form and Poetry is one that bears repeated viewing - and soon."
- Jean Battey Lewis, The Washington Times

"In terms of pure creativity, the choreographer is a step ahead of the great composer. Where Dvorak repeats, McIntyre varies, expands and even reinvents. The athletically charged dancing follows an agenda beyond merely tracking the music, which for McIntyre is a springboard, not a path. In "Reassuring Effects," a smart, skilled postmodernist pays homage to the past but stays firmly in the present. McIntyre's dance stands as the brilliant centerpiece of an imaginative program. "
- Tom Strini, Milwaukee Journal Sentinel

"Nobody seems to know anything about Trey McIntyre except that he comes from Texas, but there's nothing provincial about Steel and Rain, a cool, slightly antiseptic, extremely well made dance that looked even stronger the second time we saw it."
- Terry Teachout, New York Daily News

"McIntyre is a talent to watch: His "Second Before the Ground" is the most exhilarating work I've seen by a young choreographer in years."
- Christine Temin, Boston Globe

"Trey McIntyre's sunny Second Before the Ground, a three-part celebration of young love, made me tingle. It's an exceptional piece of choreography..."
-Molly Glentzer, Houston Chronicle

"The very next triumph came with an equally severe but exciting Steel and Rain by Houston Ballet choreographer Trey McIntyre."
- Byron Belt, Newhouse News Service

"The brightest moments in the program came from Trey McIntyre . . . His works clearly indicate why Artistic Director Ben Stevenson created the new [Choreographic Apprentice] position for him."
- Ann Holmes, Houston Chronicle

"On first seeing . . . Steel and Rain choreographed by Trey McIntyre to Bartok's 'String Quartet Number Four', made the strongest impression."
- Mary Campbell, Associated Press

"McIntyre's choreography concentrates on movement that is quick, direct, angular and forceful. There's none of the 'ballet is beautiful' mystique of long lines of wispy, willowy dancing in Curupira. When arms are raised, fists are clenched and elbows are bent."
- Carl Cunningham, The Houston Post

"The evening's highlight was higher than expected. Trey McIntyre's world premiere ballet, Curupira, showed he is indeed a geyser of choreographic talent. At twenty-three McIntyre is innovative without gaudy pretension. Everything in the show strays from tradition - from the musical staging, to the costumes, to the dance. Yet the work is mature, solid and, most importantly, fun."
- Manuel Esparza, Daily Cougar

"(of Like a Samba) Great art does not have to be huge. It can be small, like this, and it can be beautiful."
- Karen Anne Webb, The Salt Lake Tribune

"The closing work on the program, Trey McIntyre's Like a Samba, topped everything that had come before."
- Janine Gastineau, Dance Magazine

"Trey McIntyre's Second Before the Ground was by far the best of the bunch, featuring some arrestingly inventive movement."
- Judith Mackrell, The Guardian, London

"The best of the night, and a pleasure to watch, was the opening ballet by a Kansas choreographer, Trey McIntyre. In Second Before the Ground (1995), he took a pretty score of African songs adapted for string quartet and drums, and made to it a flirting, loving, modern-classical ensemble for couples that was choreographically bright and unaffectedly sincere. Enchanting little gestural details between lovers never rang falseÑrubbed noses, heads patted, pretend tiffs. It is a sweet piece."
- Ismene Brown, The Daily Telegraph, London

PRESS ACCLAIM (CLICK HERE FOR FULL REVIEWS) "Trey McIntyre, arriving with the title 'Choreographic Apprentice to the Houston Ballet,' is obviously a new face to watch, judging by his Bartok ballet, Steel and Rain." - Anna Kisselgoff, The New York Times "McIntyre's Steel and Rain has a theatrical power and meaning that none of the above mentioned [Diamond Project Choreographers] even approached, let alone achieved." - Robert Greskovic, The Native "One of ballet's most surprising talents." - Jennifer Dunning, The New York Times "Trey McIntyre, the young choreographer of the program's zany, authoritative premiere, was the afternoon's other revelation." - Jennifer Dunning, The New York Times "McIntyre may be only twenty-four, but his choreographic skills are as great as those of many choreographers twice his age . . . Anyone who thought Houstonians wouldn't approve of innovation should have heard the applause for the spring program, especially McIntyre's Touched, done to Dave Brubeck's music . . . The audience's pleasure was palpable." - Valerie Gladstone, Dance Magazine "Trey McIntyre could hardly have come along at a better time." - Kyle MacMillan, Denver Post "When we loll back in the chair and forget that essential element of creativity, someone like tall, young choreographer Trey McIntyre comes along to wake us up." -Carl Cunningham, The Houston Post "Trey McIntyre's Mantis is a brilliant accomplishment for a young choreographer." - Jean Lenihan, Seattle Weekly "As the opening piece for the Houston Ballet's mixed program at the Kennedy Center on Thursday night, 'Second Before the Ground' proved hard to surpass." - Nora FitzGerald, The Washington Post "There was certainly no dancemaker [at Oregon Ballet Theatre] remotely like Trey McIntyre, OBT's Resident Choreographer. Of course, few choreographers anywhere are like him, which may help to account for why he is catapulting himself around the United States and Europe on commissions...McIntyre's fluency and expertise at shaping dance phrases is world-class." - Mindy Aloff, special to The Oregonian "To call Trey McIntyre' Peter Pan the most impressive, original, multi-act ballet created by an American choreographer in recent memory doesn't quite do the three-act production justice." - Robert Greskovic, Dance View "[Peter Pan], The most important production of the year 2002." - Robert Greskovic, representing The Wall Street Journal in Ballet Tanz "While McIntyre learned the craft from Stevenson as the company's first choreographic apprentice, he seems to have surpassed his mentor. Peter Pan is the most fully-imagined, well-told, innovative story ballet to come from Houston Ballet in a long time." - Lauren Kern, Houston Press "McIntyre's Peter Pan is a brilliant and true mix of dance and theater and should become a popular classicÉMcIntyre's knack for moving the narrative forward, without resorting to mime or slowing down the action, is astonishing for such a young dancemaker. With or without fairy dust, he has proven his talent and takes his place as one of the top choreographers of the decade." - Marene Guston, Dance International "Unlike the hero of his first full-length ballet, Trey McIntyre has grown up. The world premiere of Houston Ballet's Peter Pan on Thursday at the Wortham Theater Center showed the 31-year-old choreographic associate to be a superb storyteller with a kid's heart and an adult's appreciation of life's complexities." - Molly Glentzer, Houston Chronicle "In the Washington Ballet's splendid program that concludes this weekend, the jewel in its crown is a world premiere by Trey McIntyre. His new ballet is admirable on many levels. Waves of fresh, imaginative dancing spill across the stage; the movement is both virtuosic and nuanced...the new ballet is a tremendous addition to the company's repertoire. The Washington Ballet has a pattern of seldom repeating a ballet from one season to the next, but The Reassuring Effects of Form and Poetry is one that bears repeated viewing - and soon." - Jean Battey Lewis, The Washington Times "In terms of pure creativity, the choreographer is a step ahead of the great composer. Where Dvorak repeats, McIntyre varies, expands and even reinvents. The athletically charged dancing follows an agenda beyond merely tracking the music, which for McIntyre is a springboard, not a path. In "Reassuring Effects," a smart, skilled postmodernist pays homage to the past but stays firmly in the present. McIntyre's dance stands as the brilliant centerpiece of an imaginative program. " - Tom Strini, Milwaukee Journal Sentinel "Nobody seems to know anything about Trey McIntyre except that he comes from Texas, but there's nothing provincial about Steel and Rain, a cool, slightly antiseptic, extremely well made dance that looked even stronger the second time we saw it." - Terry Teachout, New York Daily News "McIntyre is a talent to watch: His "Second Before the Ground" is the most exhilarating work I've seen by a young choreographer in years." - Christine Temin, Boston Globe "Trey McIntyre's sunny Second Before the Ground, a three-part celebration of young love, made me tingle. It's an exceptional piece of choreography..." -Molly Glentzer, Houston Chronicle "The very next triumph came with an equally severe but exciting Steel and Rain by Houston Ballet choreographer Trey McIntyre." - Byron Belt, Newhouse News Service "The brightest moments in the program came from Trey McIntyre . . . His works clearly indicate why Artistic Director Ben Stevenson created the new [Choreographic Apprentice] position for him." - Ann Holmes, Houston Chronicle "On first seeing . . . Steel and Rain choreographed by Trey McIntyre to Bartok's 'String Quartet Number Four', made the strongest impression." - Mary Campbell, Associated Press "McIntyre's choreography concentrates on movement that is quick, direct, angular and forceful. There's none of the 'ballet is beautiful' mystique of long lines of wispy, willowy dancing in Curupira. When arms are raised, fists are clenched and elbows are bent." - Carl Cunningham, The Houston Post "The evening's highlight was higher than expected. Trey McIntyre's world premiere ballet, Curupira, showed he is indeed a geyser of choreographic talent. At twenty-three McIntyre is innovative without gaudy pretension. Everything in the show strays from tradition - from the musical staging, to the costumes, to the dance. Yet the work is mature, solid and, most importantly, fun." - Manuel Esparza, Daily Cougar "(of Like a Samba) Great art does not have to be huge. It can be small, like this, and it can be beautiful." - Karen Anne Webb, The Salt Lake Tribune "The closing work on the program, Trey McIntyre's Like a Samba, topped everything that had come before." - Janine Gastineau, Dance Magazine "Trey McIntyre's Second Before the Ground was by far the best of the bunch, featuring some arrestingly inventive movement." - Judith Mackrell, The Guardian, London "The best of the night, and a pleasure to watch, was the opening ballet by a Kansas choreographer, Trey McIntyre. In Second Before the Ground (1995), he took a pretty score of African songs adapted for string quartet and drums, and made to it a flirting, loving, modern-classical ensemble for couples that was choreographically bright and unaffectedly sincere. Enchanting little gestural details between lovers never rang falseÑrubbed noses, heads patted, pretend tiffs. It is a sweet piece." - Ismene Brown, The Daily Telegraph, London