And it always flowed, always swung. By itself, John Michael Schert’s extraordinary solo to “Ol’ Man Mose” showed you a linear ballet body suddenly fractured, melted down, reintegrated and reconstituted as a futuristic prototype ready for anything. And the two contrasting arrangements of “St. James Infirmary” (one weighty and dirge-like, the other explosively propulsive) found McIntyre’s forces not so much dancing to the music as developing a daring, virtuosic dialogue with it.
Meanwhile the band played on, sometimes deferring to the dancers by providing spare drum-and-hand-clap accompaniment, but elsewhere challenging any dancer anywhere to match the spirit and cohesion of its super, über-Dixieland musicianship. But the wow factor of McIntyre’s choreography never faltered, so the evening sustained the sense of an ideal collaboration and proved again that there is indeed such a thing as genuine 21st century ballet, and it belongs more to this guy from Wichita than any of the over-hyped pretenders from England, France or Russia.
McIntyre rocks, McIntyre rules. Everyone else can just get in line.”
Choreographed by: Trey McIntyre
Costumes by: Andrea Lauer
Lighting by: Travis C. Richardson
Music: by Preservation Hall Jazz Band
Premiere Date: Feb. 4, 2011 by Trey McIntyre Project
Running Time: 28 minutes
The Sweeter End was co-commissioned by the New Orleans Ballet Association and underwritten by Blair Kutrow of Wrightsville, NC. Original music commissioned by the Charles and Joan Gross Family Foundation of New York, NY
Additional underwriting support provided by Kerry Clayton and Paige Royer of New Orleans, University of Florida Performing Arts and Lincoln Center for Lincoln Center Out of Doors 2011. Additional support provided by the Boise Convention and Visitors Bureau and National Endowment for the Arts funding through USA Projects, an online initiative of United States Artists
Denim supplied by Levi’s® Jeans