“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.”

Los Angeles Times, by Lewis Segal

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“It’s refreshing to see a choreographer who, while showing a wide command of the ballet vocabulary, isn’t haunted by the idioms of Balanchine and doesn’t rely on high lifts or acrobatic extensions. There is no point work, either, and yet there’s more footwork here and more delight in steps than most other choreographers include today. The dancers move their whole bodies with a mixture of freedom and precision that’s startling, and they look motivated in every moment. The connection of classical form to personal impulse plenty of the movements aren’t from the ballet textbook is unusual.

And each piece is striking as theater. Both men and women here have their own lives. There are male-female pas de deux, but they aren’t the center of the Trey McIntyre universe. They occur in a world where women may do some lifting and partnering too (of men or other women), and where men may lift and partner one another as well as women. And a male-female pas de deux is a meeting of equals: both partners dance, sometimes doing different material at the same time.

A gift like this reminds me of the choreographer Antony Tudor. There are other ways in which Mr. McIntyre could be a Tudor of our day: notably the way he can time movements to music for dramatic eloquence so that the music tells a story different from, but related to, the dance. But there’s a fertility of invention and a modernity of spirit here that are all Mr. McIntyre’s own.”

The New York Times, by Alastair Macaulay

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“Ballet tends to be the most orthodox of the art forms, and often the most reactionary. How heartening to renew acquaintance with the uninhibited and adult eccentricity that BalletX, a company devoted to new choreography, seems to encourage. The first work on the program, “Show Me” (2015), is by Matthew Neenan; the third, “Big Ones” (2016), by Trey McIntyre. Much of the freshest choreography in American ballet is made by these two men. Perhaps the most offbeat choreographer in American ballet, Mr. McIntyre, who often employs pop or rock music, is now in top form. When Pennsylvania Ballet visited the Joyce for a week this spring, his “The Accidental” (2014) — set to taped songs by Patrick Watson — was the program’s highlight. Now his “Big Ones” (whose premiere I reviewed in Philadelphia this February), accompanied by Amy Winehouse recordings, proves marvelous. This year has already brought some excellent fresh choreography; “Big Ones,” as well as Alexei Ratmansky’s very dissimilar “Serenade After Plato’s Symposium,” new with American Ballet Theater this May, are two of the best examples.”

The New York Times, by Alastair Macaulay

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“The decade began with the Great Hope for classicism, a young Brit named Christopher Wheeldon, resident choreographer at New York City Ballet from 2001 until he formed his own company, Morphoses. That honor (or albatross) eventually passed to Alexei Ratmansky, briefly the artistic director of the Bolshoi Ballet and now resident choreographer at American Ballet Theatre. But keep your eye on Trey McIntyre, who creates brilliant works in what you might call the contemporary, semi-classical Jerome Robbins tradition.”

Los Angeles Times, by Lewis Segal

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"A gift like this reminds me of the choreographer Antony Tudor. But there’s a fertility of invention and a modernity of spirit here that are all Mr. McIntyre’s own.”

The New York Times, by Alastair Macaulay

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"Keep your eye on Trey McIntyre, who creates brilliant works in what you might call the contemporary, semi-classical Jerome Robbins tradition.”

Los Angeles Times, by Lewis Segal

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“Mr. McIntyre honed a strong, recognizable style that combined propulsive athleticism, crisp, detailed footwork and lush coordinations of the body. He also maintained a refreshing openness in his works, a willingness to depict emotions like fear, loneliness and anxiety, while avoiding mawkishness. His dances are touching, but also exciting as dance.”

New York Times, by Marina Harss

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"Virtually everybody loved Trey McIntyre’s “Your Flesh Shall Be a Great Poem,” a deeply personal memory piece that dipped into a variety of dance styles and left its protagonist in his briefs wrestling with a four-legged stool, all set to a catchy rock score. Ambiguity has rarely seemed so inviting."

San Francisco Chronicle, by Allan Ulrich

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"I crown him the most musical choreographer alive."

Dance Magazine, by Wendy Perron

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"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."

 The Boston Globe

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"“The Accidental” ended with one of the most stunning solos I’ve ever seen in my life.“

 Philadelphia Weekly

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"There were rapturous ovations for every piece, and no wonder. McIntyre, the 6-foot-6 former ballet dancer and crackerjack choreographer of the popular song, seems to attract an ardent following wherever he goes — even when it’s far off the beaten path for an artist in the niche world of dance."

 The Washington Post, by Sarah Kauffman

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