After his Trey McIntyre Project gave its final performances 10 years ago, choreographer Trey McIntyre didn’t think he’d work in-depth with another dance company. But then the Los Angeles–based BODYTRAFFIC changed his mind. McIntyre recently joined the company as a creative partner, a new role that makes him a strategic ally to artistic director Tina F. Berkett. McIntyre sees the position as an opportunity to be a sounding board for Berkett regarding long-term planning, artistic programming, marketing, and education. He will also create new work for the company. In fact, he rang in this new chapter last week with the world premiere of Mayday, a work honoring the 1950s rock musician Buddy Holly.
The 2024–25 season marks an important moment for BODYTRAFFIC. In addition to appointing McIntyre as a creative partner, it’s added Lucinda Lent (former executive director of L.A. Dance Project) as an executive consultant, and it recently received its first $1 million grant from the Perenchio Foundation.
McIntyre took a moment to reflect on his new role, and what it means for the future of BODYTRAFFIC.
What brought you back to a company role?
The main draw for me was Tina F. Berkett. We’ve actually known each other for a really long time. I did a project for Walt Disney about 15 years ago and BODYTRAFFIC was the workshop company. They were a very young company back then, and that’s when I first heard of them.
What is it like to witness BODYTRAFFIC today, all grown up, after seeing them as a fledgling company?
It’s remarkable. The growth in such a short amount of time is mind-blowing. They are some of the best dancers on the planet, and it’s a collection of people who are so kind and truly invested in being a family and working together to support one another. I’ve been able to do things choreographically with them that I didn’t think were possible. They’re essentially a contemporary company, but they have some of the finest classical technique I’ve seen.
What did you learn during the decade when you were not in a company role that you think will be beneficial in your new position?
I was so young when starting TMP, and there was so much to be learned. I became a different person during those years. A company is just so needy. There’s never enough time or enough resources, and I spent myself dry. What I’ve gained in the past 10 years is, “Well, what are the things that really fed me and that I wanted to keep contributing to?” I love to expose new audiences and grow the context in which dance can happen authentically. We have a real need to connect with the thing that is higher than ourselves, and not in the minutiae of the day-to-day that we’re living in.
What are you looking forward to in your new role at BODYTRAFFIC?
I look forward to seeing how this becomes a hometown company for Los Angeles. L.A. famously does not have a center, and that’s an interesting and fun challenge to figure out—how to build those bonds authentically. I’m looking forward to some of the work I will be making. I’m looking forward to reminding Tina to spend most of her time on what makes her feel inspired and creative. I love doing that for another artist. I had my shot at people supporting me as artistic director and it was such a great blessing, but I don’t want that now. I still want to help bring dance to the stage and help bring it to more people. So to be in the service of someone else in that way has been liberating.
