This ballet is a full length. Meaning, one ballet with intermissions, similar to a book with chapters.
Trey McIntyre was created in 1969 as a collaboration between his mother and father. His interest both in art and getting the hell away from Kansas led him to train at North Carolina School of the Arts and the Houston Ballet Academy. In 1989, he was appointed Choreographic Apprentice to Houston Ballet, a position created especially for him, and in 1995 he became the company’s Choreographic Associate. He has worked for more than 30 years as a freelance choreographer, producing more than 100 pieces during the span of his career so far. He also did a bunch of other cool things, including working with a lot of amazing companies such as The Stuttgart Ballet, American Ballet Theatre, Queensland Ballet, Hubbard Street Dance Chicago, New York City Ballet, Oregon Ballet Theatre, BalletX, The Washington Ballet, Ballet Memphis, and San Francisco Ballet.
He has won numerous awards and honors such as the Choo San Goh Award for Choreography, a Lifetime Achievement Award from The National Society of Arts and Letters, two personal grants for choreography from The National Endowment for the Arts, and is a United States Artists Fellow. In 2019, he won the Isadora Duncan Award for Outstanding Achievement in Choreography for his work Your Flesh Shall be a Great Poem, which he created for San Francisco Ballet for their Unbound Festival. He was named one of Dance Magazine’s “25 to Watch” in 2001, one of People Magazine’s “25 Hottest Bachelors” in 2003, and one of Out Magazine’s 2008 “Tastemakers.”
In 2005, he founded his dance company, Trey McIntyre Project, achieving great audience and critical success. McIntyre created over 23 original works for the company as well as numerous film projects, interactive site specific works, and photography collections.
In September of 2024, he joined Los Angeles based company BODYTRAFFIC as Creative Partner. He is creating new work for the company on a regular basis and lends his vast experience in running an organization in an advisory capacity.
His main focus recently has been adding more love into the world. He loves you and doesn’t even know you.
Sir Edward Elgar is considered one of the most famous English composers – so famous that there is even a locomotive named after him! The son of a piano tuner and music shop owner, he was one of seven children. Though he had very little formal training, he was able to make a living as a freelance musician starting when he was just 16 years old. Violin was his main instrument, but he also played organ, violin, piano, and bassoon and conducted to make a living! During this time, he was also writing compositions and eventually decided to move to London, where he would stop playing to concentrate on writing music.
At first, it was very hard for Elgar to make a living as a composer. He even had to leave London to live in a smaller town and take up some of his old teaching positions. Elgar kept trying, and it wasn’t long before his compositions started to be recognized as great works!
Unlike so many composers before him, Elgar was able to conduct most of his orchestral compositions to be recorded. We also have recordings of his voice, and even a video of him conducting!
Elgar loved golf, chemistry, and his pet dogs. He also loved riddles, and secretly named each movement of his most famous work, “Enigma” Variations, after a friend. Each movement contained a clue about the person he had in mind while he composed it.
There are parking garages near the Ohio and the Capitol theatres, as well as limited metered street parking (most of which is free after 6 pm and on Sundays).
Ohio Statehouse Parking Garage
$5 during events
Enter from westbound Broad Street or Third Street.
Riffe Center Parking Garage
$5 during events
Enter from Front Street. Take the elevators to the third floor and proceed along the hall to the Davidson Theatre. (For the Box Office or Will Call, descend the escalators to the first floor.)
Downtown traffic can be heavy, so please plan ahead. We recommend arriving 20-30 minutes early to park, find your seat, explore the program and relax before the performance. Audience members who arrive late may not be seated until intermission.
This is our most-asked question, and the answer is: You probably won’t feel out of place no matter what you wear. If you want to wear jeans, go for it—we promise you won’t be alone. If you want to dress up, feel free. Many others do, too. We don’t see as much formal-wear in the theater as we once did, though it wouldn’t be unusual to see a tux or a gown at a performance. Basically, anything goes.
No, dancers express the story or meaning through the movement. In some story ballets, dancers will use pantomime (exaggerated movements) to help you understand what’s happening. If you see a ballet with pantomime, head to the lobby, where we’ll have more information and guidance. If you ever struggle to follow along, feel free to chat with a BalletMet staff member in the lobby who will happily answer any questions you have.
If you are wowed by something you just saw, please do applaud. At BalletMet, we love to hear clapping. It’s uplifting to those performing, as they can often feel your excitement and energy on stage. So applaud whenever you see fit! Note: Not every ballet company feels this way, so keep that in mind if you happen to be at another company’s performance.
Images by Jennifer Zmuda