01.20.16 @

Les Ballets Trockadero De Monte Carlo, more affectionately known as “The Trocks,” blend incredible technique, impeccable comic timing and the astounding fact that men can, indeed, dance en pointe without falling flat on their faces. Enjoy hilarious twists on classics like “Swan Lake” and “Giselle” from this all-male troupe performing the full range of the ballet and modern dance repertoire in stunning makeup and costumes at the Lied Center for Performing Arts on Friday, Feb. 5 at 7:30 p.m.

Tickets are available now at LiedCenter.org, by phone at 402.472.4747 or at the Box Office on 12th and Q Streets. Tickets are available to students at a 50 percent discount with a valid NCard.

Founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, Les Ballets Trockadero de Monte Carlo first performed in the late-late shows in Off-Off Broadway lofts. The Trocks quickly garnered a major critical essay by Arlene Croce in The New Yorker which, combined with reviews in The New York Times and The Village Voice, established the company as an artistic and popular success.

By mid-1975, the Trocks’ were gaining attention beyond New York. Articles and notices in publications such as Variety, Oui, The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the company nationally and internationally known. Since then, the Trocks have established themselves as a major dance phenomenon throughout the world appearing in over thirty countries and over five hundred cities worldwide since its founding in 1974.

The Trocks' numerous tours have been both popular and critical successes. The original concept of Les Ballets Trockadero de Monte Carlo has not changed. It is a company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents, and underlying incongruities of serious dance. The fact that men dance all the parts - heavy bodies delicately balancing on toes as swans, sylphs, water sprites, romantic princesses, or angst-ridden Victorian ladies - enhances, rather than mocks, the spirit of dance as an art form, delighting and amusing the audiences around the world.