TeeKay always tried to push the boundaries of the theatre and the stage.
“Flicker Return” was a piece devised for the German Championships in Show Dance. After training BJ15 for half a year the group was ready to enter the Regional and later National competitions with a radical contrast to the usual glittery, sequin glazed costumes and glamour-like sexy showcases presented by their competitors. “Flicker Return” showed a post atomic war site where bald headed creatures in worn out suits found and united themselves by their rhythmic flash light patterns sent out into the dark. Moving towards each other and climaxing into explosive lifts and flying figures they would disappear into the dark again. No matter on which level the group performed, the provocative concept either gave them best or lowest scores by the judges and so BJ15 made it to the German finals, but did not win.
1991 – Digits1 – Malmo Stadsteater, Sweden
With the rise of computer industries TeeKay created two ballets focusing on the precision of IT processes. To a newly composed soundtrack by Swiss composer Christian Schaaf “DIGITS 1” was a pas de deux for the Malmo Ballet in the South of Sweden. Making use of excellent point technique and highly acrobatic off balance movements TeeKay neared himself to the concepts of dance deconstructionist William Forsythe.
In fall 1991, with his acceptance as competitor of the First International Choreography Competition in Tokyo, he extended the original pas de Deux to a pas de six. His touring company included 8 promising young dancers from the John-Cranko School in Stuttgart, amongst them Christian Spuck, now director and choreographer of Zurich Ballet.
As a result to his creations in Hanover and the participation in Tokyo, TeeKay was offered to head his first company in Lucerne, right in the middle of Switzerland and home of the prestigious Lucerne Festival.
In his first choreography for the Lucerne Music Festival TeeKay plunged into the history of the Avant-Garde of the early 20th century. Reviving the largest cooperation of the famous French group of composers including Darius Milhaud, the “Group des Six” he staged “The marriage on the Eiffel Tower”. This piece includes a wonderful and absurd libretto by Jean Cocteau about a young couple celebrating their marriage on top of the Paris Eiffel Tower. The text is proclaimed by two phonographs and the ceremony is continuously interrupted by objects which keep escaping the camera of the photographer: an ostrich.
For his second evening as Ballet Director in Lucerne TeeKay revived “Nach Ansage”, the first choreography he had created while working as a dancer in Hanover. “Nach Ansage” is a clever game of different dance styles and quotations of art and literature. The 10 dancers on stage, moving around like priests in their black hooded cloaks around ten chairs set up in a circular structure reminding of the Stonehenge monument; start a partly absurd philosophical discourse on the origin of the decimal systems. They explore the possibilities of 10 different music styles ranging from Bach to Tango and Dave Brubeck, always reciting the last 10 words of famous literature and perform these short stories using reproductions of great art works including Edward Munch's “The Scream”, one of the “Water lilies” of ??????. After an entertaining and catching ever different trip through the highlights of western the finale juxtaposes a Mozart-March with a full colored backdrop of Keith Haring in the background.
After having accustomed the Swiss audiences to his poly-stylistic approach to Dance and creating an increased interest for the Lucerne Ballets production TeeKay chose to take a very radical approach in one of his last pieces. “Crazy Clips” takes a look at our ways to perceive our world through fast and multiple channel flipping – taken to an extreme since video clips on Youtube have reduced most peoples attention span to the first ten seconds of a clip. If we are dissatisfied we click on to the next one.
“Crazy Clips” portrays a housewife while preparing a salad in the front of the stage. Behind her a wild mix of stories, short music clips of famous tunes produce a second level of reality. While she keeps chopping cucumbers a man who turns out to be her infidel husband keeps appearing every now and then appears, alongside with some of her unspoken desires. The baby she never had keeps calling to her, a young man coming forward as a potential lover and a haunted Jesus Christ as well as a Swiss Heidi-pig-tailed Helvetia busy to keep up appearances and ignoring all potential of scandal.
In 2004 TeeKay blends Classical ballet history of the 20th century with Video games. A group of teenagers enters a Gaming Lounge and are enticed by a strange magician like to play a number of Games set out to the music of Igor Stravinsky’s ballets. A short peek of “Apollon Musagete” is followed by the finale of “Firebird” and an excerpt of “Sacre du Printemps”. In the second part three of the youngsters are being pulled in to play the main roles in “Petrushka”: the unhappy clown, his beloved ballerina and the brutal gangster. Every dancer of the small company had a double, which would be present while the dancers enacted as their own avatars.
One of TeeKay’s last dance pieces was a commission by the Opera House in Izmir, Turkey. Ahmed Adnan Saygun, one of the most influential Turkish composers of the 2oth century had died shortly after finishing his only ballet music titled “Bir Kumru Masali”, “A Pigeons Tale”, which had not yet been performed. To commemorate his 100th birthday the Izmir Ballet decided to finally bring this piece to the stage. Unfortunately the rich colorful and fluorescent music was set to a libretto of lesser quality. TeeKay decided to use the music to dive back into the rich history of Izmir or Smyrna, as the city was known for many centuries.
Choréographe Mise en scène Acteur
More links to theatres where TeeKay has worked as Choreographer Artistic Director Performer