Impudent and angular, classical line thrown away, Thiessen high-stepped her way through a rapid opening solo and made it virtually impossible for Matthew Boyes to keep up with her in the duet that followed. If you looked hard, you could see that McIntyre had slipped more than a few classical steps into the foot stomps, but it was very subtly done. This sort of fusion is hard to bring off successfully, but McIntyre is on to something here that could be developed into extremely interesting work.”
McIntyre’s fluency and expertise at shaping dance phrases is world-class. His musicality – that is, both his choice of scores and the way he stages them – is a joy. And his evident fascination with dance languages, which he treats with wit and respect – whether they belong to ballet, ballroom or hip-hop – is in desperately short supply internationally.
He makes real dances, with theme-and-variation structure and decided beginnings, middles and ends; and his storyless work conveys the illusion of storied worlds or atmospheres without, in fact, dramatizing them. Dancers, women in particular, thrive in his choreography. All they need to shine is to dance their best and be themselves. Vanessa Thiessen, in “Speak,” and Alison Roper, in the bossa-nova site “Like a Samba,” were simply wonderful. They projected a lightness, delicacy and exactitude that one associates with classicism, even though neither dance was a classical ballet.”