"Just, a world premiere by McIntyre, is a masterpiece. In it, pairs of nearly nude bodies move like single, sinewy organisms on a bare, lushly lit stage. Set to Henry Cowell's multilayered, sometimes discordant Set of Five, the piece echoes its score beautifully, complementing strong, simple undertones with a rich overlay of arrhythmic phrases." – Willamette Week
In response to Cowell’s score, Trey challenged himself “not to allow any sort of narrative in this ballet, but instead to riff off of the multilayered music.” When Trey speaks of movement as thought, he is trying to describe the way music elicits very specific movement designs in his mind’s eye. He uses ballet’s classical vocabulary as a mechanical description for the dancers, and proceeds to hang decidedly non-classical ideas on that scaffolding. Just as Henry Cowell extended musical composition in his era, classical dance is extended in Trey’s contemporary imagination. While the usual aesthetic of ballet is to make extraordinary movement look easy, Just exposes the push, the drive, the lurch for new ideas.