Interview: Shohei Iwahama of LES BALLETS TROCKADERO DE MONTE CARLO

Les Ballets Trockadero de Monte Carlo, often simply referred to as "The Trocks," is a well-known all-male drag ballet company that parodies and pays homage to classical ballet. The company was founded in 1974 in New York City by a group of ballet enthusiasts who shared a love for dance and a desire to satirize the conventions of classical ballet. "The Trocks,” come through Austin on tour at the Bass Concert Hall on January 19th.

The company's name, "Les Ballets Trockadero de Monte Carlo," is a play on the name of the famous Ballets Russes and the Monte Carlo Ballet. The "Trockadero" part of the name is a nod to the word "tutu," a traditional ballet costume.

The Trocks gained popularity for their unique and humorous approach to ballet, combining technical skill with comedic elements. The dancers perform en pointe and take on both male and female roles in a repertoire that includes classical ballets such as "Swan Lake," "Giselle," and "The Nutcracker," among others.

Over the years, Les Ballets Trockadero de Monte Carlo has toured extensively around the world, earning acclaim for their entertaining and skillful performances. The company has played a significant role in breaking down gender stereotypes in ballet and showcasing the versatility and talent of male dancers in the art form. The Trocks have been celebrated for their exceptional technical abilities, which include impressive pointe work and strong classical ballet technique, all delivered with a comedic twist. 

Shohei Iwahama, a Les Ballets Trockadero de Monte Carlo company member, took some time to chat with me after rehearsal in New York last week, about his worldwide journey to becoming a company member of The Trocks.

Tell us about your journey from Texas to The Trocks.

I grew up in Tokyo, Japan until I was 18 then I came to New York City to study at the Ailey School attached to Alvin Ailey American Dance Theater. I was able to go there because I got a one year grant from the government for dancers or artists who were 18 and under. I went to the Ailey school for a year then I went back to Japan and finished high school, but I wanted to continue my education in the states. I had to find a way to get back here somehow so I googled “cheapest Community College with a dance program” that provided international students with scholarships. I found this really tiny community college in Rock Springs, Wyoming — literally in the middle of nowhere. The tuition was super cheap and they got me scholarships.

I got there and I found out I was the only dance major. So all the students that I took dance classes with were musical theater majors. We had a guest choreographer for a show who came from Sam Houston State University, so I told him I was looking for somewhere to transfer and he reached out to his boss, who was the chair of the dance program. They offered me scholarships right away. And that's how I ended up in Huntsville, Texas.

After finishing school, I started getting contemporary ballet gigs. I danced for James Sewell ballet in Minneapolis for four seasons. And during that time,I started experiencing more injuries so I retired as a full time dancer and I worked for a IT company for a year. I was miserable. 

I wanted to find a way to go back into being involved in the dance community again. So I went back to Huntsville, Texas, again, for their MFA program. I was teaching a lot, mainly ballet. My  plan was to just apply for university teaching positions after getting my MFA.

My back wasn't doing well at all. Especially doing contemporary and modern stuff. But I figured when I only do ballet, my back is fine. Towards the end of my grad school, I started thinking I still want to dance and maybe I will, you know, give myself another chance. I somehow connected on social with two of the former Trocadero dancers and they encouraged me to audition so I did, even though they didn’t have an opening.

Right after this my thesis concert in March 2022, I reached out about my audition and it was like two hours later, I got an email that there was a spot for me. This was a week before the spring break in March. And so during that spring break, I came back to New York again, to rehearse for a week and went back to Texas again and finished school.

In May, I think a week after graduation, I was already here in New York. I went on tour in Japan, which is my home country, so it worked perfectly because my family and friends and teachers all got to see me perform. So yeah, that's how I ended up being a Trock.

I think I was very lucky. Thank you universe.

In all of the literature, “gender bending” or “bending gender stereotypes” comes up. What does that actually mean to you and other company members? 

I think it means something different to each of us. But for me it pertains to the concept of gender but also being comfortable with myself about gender stereotypes. For example, I am a gay man. But I never really tried to dress like a woman. I never really wanted to, you know, become a woman or just dress like a woman. It wasn't really what I was interested in. But I was always fascinated by pointe technique, wearing pointe shoes. I love it. But it wasn't until I actually joined the Trocks that I learned moving like a female ballerina actually helps pointe technique to me. It totally makes sense because point technique has a long history by now. But I will say I had a little bit of internal homophobia.

Interesting. Why is that?

I feel like that was one of the reasons that I wasn't willing to dress like a woman. And especially in class. A lot of us wear ballet skirts in class. And you know, some pretty things like rings or necklaces, although we're not really allowed to wear dangly jewelry in class. I started enjoying it recently. I never really wanted to dress like a female ballerina before, even though I did really enjoy the movement aspects of it. Spending more time in this company really helped me be comfortable with myself. As long as I feel great with what I'm wearing, and if that helps my dancing, I don't care who cares.

Ballets de Trocadéro is not typical ballet. Can you share anything about that? Perhaps, what inspires you when you’re doing this work? 

Even before joining the Trocks, I always loved comedy. Especially the many aspects of comedy, like making faces has always been one of my favorite things. Being able to do it in this professional ballet company is such a treat for me. I can't really do this with any other company. Both comedy and ballet and of course, in pointe shoes at the same time. 

What about the rehearsal process is different for the Trocks than other dance companies? 

Setting the jokes in our ballets. Usually we rehearse the actual ballet, first, without jokes. The jokes come after learning the choreography, though sometimes it just happens naturally during rehearsal. But especially for newer dancers like me, a newer generation of Trocks, we are taught to do a joke here, and another joke is right here, and another joke is right here. 

You also get the freedom to explore your way as well. Sometimes you just do it in rehearsal and they like it. Sometimes you just have an idea you get to keep it in.

For example I’m playing Swan number three, which is one of the dancers in the core of Swan Lake. But number three specifically, is called the joke swan. So this swan is the one who gets kicked in the head or falls over doing the silly stuff in the ballet. So I've been doing this role for about a year and I feel like I was able to explore those jokes in my own way. I was able to use my creativity.

Any memorable experience you’d like to share about being a Trock?

Dancing with Bobby Carter the legend, the most iconic Trocadero dancer in our company. He's been in the company since the 90s. Everybody knows Bobby and of course, all the dancers spend time watching his videos online, too. I  performed Pas de Quatre with him, and what makes it more special is that it was still new for him. So all of the dancers were very excited to get to do it with him.

What's up for you from here? What are your goals and aspirations in being with the company or projects you're up to?

I want to do this as long as I can, to be honest. But, I have to be realistic that I am 35 turning 36 this year. I still feel young but my body doesn't, especially considering my back injuries. I can't do this forever. But when I have to, my plan is to either apply for a university teaching position, or open a dance school with my husband. I've always loved teaching as well. 

I still try to teach when we are off, during the summer. In grad school I taught a lot of classes and before grad school I taught in  a lot of dance studios. This is something that I am passionate about.

Texas Performing Arts presents Les Ballets Trockadero de Monte Carlo at The Bass Concert Hall for one performance only, Jan 19, 2024 at 7:30 PM.

Get tickets to see the Trocks here.

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