Lukewarm

Trey McIntyre at the Pillow
By JEFFREY GANTZ  |  August 27, 2008

McINTYREinside.jpg
SURRENDER: The idea was plausible; the execution was not.

Are we in the midst of a dance boom? You’d have to think so from the way hot-shot choreographers are going out and forming their own companies. The latest is 38-year-old Trey McIntyre, who debuted his Trey McIntyre Project, a summer endeavor with pick-up dancers, at Jacob’s Pillow in 2005. Now the Trey McIntyre Project is going full-time, with a year-round complement of 10 dancers (among them former Boston Ballet soloist Lia Cirio and former Boston Ballet II member Sam Shapiro) and a permanent base in Boise, Idaho. After a White Oak residency in Florida last month, McIntyre brought his Project back to the Pillow for a Northeast debut that offered two world premieres, Surrender and Leatherwing Bat, alongside his 2003 piece The Reassuring Effects (Of Form and Poetry). I wish I could say I found the form and the poetry of this new company reassuring.

Surrender’s is an obvious but workable opposites-attract conceit, with Chanel DaSilva as the girl in the cerise and black party dress and Jason Hartley as the guy in the blue wrestling singlet with white trim and red helmet and kneepads (USA!? USA!?). She starts gyrating to Grand Funk Railroad’s version of “The Loco-Motion”; he enters and lunges awkwardly at her; she doesn’t even look surprised. There are all the expected advances and retreats, flingings and swingings; she keeps pulling her hand away. The music shifts into the “Dance of the Mirlitons” from act two of Tchaikovsky’s Nutcracker — cute, but neither dancer tries to do anything balletic, or silly. Then — surprise! — she kicks off her heels and he doffs his helmet and we get, without apparent irony, Regina Spektor singing John Lennon’s “Real Love.” At the end, they stand side by side; you just know she’s going to extend her hand and he’s going to take it.

Leatherwing Bat is set to songs from the 1969 children’s album Peter, Paul and Mommy, and its focus is a loner played by Brett Perry who hovers on the outskirts as the other dancers — John Michael Schert, Virginia Pilgrim, Annali Rose, Dylan G-Bowley, and Lia Cirio — create duos and trios to the lullaby likes of “I Have a Song To Song, O!” and “Day Is Done.” “Going to the Zoo” sees the ensemble cradling Perry for a moment before exploding into the “Mommy’s takin’ us to the zoo tomorrow!” finale. In “Puff (The Magic Dragon),” Perry finds a friend (Schert), but we all know how that ends. There’s some humor involving a recurrent paper airplane, and some imitating of zoo animals; to make the Peter, Paul and Mary selections seem anything but sappy, however, the dancers would have to act like real kids, mischievous and playful and heartless. Instead, McIntyre gives us heart-on-sleeve earnest.

1  |  2  |   next >
Related: Rite of darkness, Modern romantics, States of unrest, More more >
  Topics: Dance , Entertainment, Pyotr Ilyich Tchaikovsky, Dance,  More more >
| More


Most Popular
ARTICLES BY JEFFREY GANTZ
Share this entry with Delicious
  •   MAMA KNOWS BEST: THE HUNTINGTON'S FEEL-GOOD A RAISIN IN THE SUN  |  March 19, 2013
    Fifty-four years after its groundbreaking Broadway premiere, Lorraine Hansberry's A Raisin in the Sun remains as dense, and as concentrated, as its title fruit.
  •   LIGHT WAVES: BOSTON BALLET'S ''ALL KYLIÁN''  |  March 13, 2013
    A dead tree hanging upside down overhead, with a spotlight slowly circling it. A piano on stilts on one side of the stage, an ice sculpture's worth of bubble wrap on the other.
  •   HANDEL AND HAYDN'S PURCELL  |  February 04, 2013
    Set, rather confusingly, in Mexico and Peru, the 1695 semi-opera The Indian Queen is as contorted in its plot as any real opera.
  •   REVIEW: MAHLER ON THE COUCH  |  November 27, 2012
    Mahler on the Couch , from the father-and-son directing team of Percy and Felix Adlon, offers some creative speculation, with flashbacks detailing the crisis points of the marriage and snatches from the anguished first movement of Mahler's unfinished Tenth Symphony.
  •   THE NUTCRACKER: BUILDING A BETTER MOUSETRAP?  |  November 19, 2012
    "Without The Nutcracker , there'd be no ballet in America as we know it."

 See all articles by: JEFFREY GANTZ