The premiere of Trey McIntyre's Pluck was cause for celebration. McIntyre is a fresh choreographic voice who has been attracting attention in such balletic strongholds as Jacob's Pillow and the New York City Ballet. To the intoxicating figurations of Ravel's String Quartet, the choreographer has crafted a new spin on Balanchine's brand of neo-classicism, at once romantic and high tech. In the incisive Scherzo, McIntyre creates flickering images and seamless ensemble transitions, while the Adagio brings a sensual duet.
The flawless technique, lithe partnering and superb execution of Yumelia Garcia, Lorena Jimenez, Maria-Angeles Llamas, Martin, Darian Aguila, Gawriljuk, Lenington and Schaffer were electric. Evocative lighting by Nicholas Phillips and Patrick Long's costumes in rich pastels aided the romantic aura of McIntyre's entrancing vision.
The world premiere performance of Pluck by Trey McIntyre was the star of the evening. With ethereally nocturnal lighting by Nicholas Phillips and gossamer costumes by Patrick Long, McIntyre and eight dancers have created a crystalline chamber work to the exotic and sensuous tonal palette of Ravel's String Quartet in F Major.
Characterized by ever-changing lifts for two men partnering one woman, the dance sends four couples moving through worlds of yearning, playfulness, anxiousness and generosity. The women imbue the recurring motifs of a turned-in passé and (while also partnered) a gorgeous deep fifth position plie en pointe with myriad and sensitive emotional colors. Especially effective choreographically is the second movement, from which the title is derived. Here, the four strings play pizzicato — the finger plucking the strings rather than bowing — and we realize that the four couples indeed are the quintessence of the quartet voices themselves. Pluck is a sublime new work, and although this was a premiere, the confident ensemble appeared as if it had already been dancing this piece for years.
-Palm Beach Daily News
McIntyre's newest work for Ballet Florida was intriguing, mercurial and athletic. Pluck was a study of images and relationships, both of which evolved, conflicted and resolved. In part, it was driven by Ravel's racing river of a String Quartet.
Four couples pulled and pushed through layers of tension, whether standing still or elaborately hyperactive. Yet all explored the same symbol: a diamond, formed as the ballerina pliés or kneels, on full pointe.
Yumelia Garcia and Gary Lenington were the Ginger Rogers and Fred Astaire of a beautiful affair for the second movement: part playful, part jazzy, all technique.
In the third movement, Tina Martin and Darian Aguila were remarkably matched in their unisons. The world premiere of McIntyre's Pluck was an artistic and financial coup.
-Palm Beach Post