Part of the Trocks' success is attributable to their lean managerial structure. A non-profit organization, the troupe has not burdened itself with expensive New York real estate or a large operating staff. Moreover, they have survived financially without private or government grants. Their complete dependence on box office income makes them very unusual in the dance world. Indeed, the Trocks are the only professional comedic dance company that has been financially successful.

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Another factor in their success is that the identity of the company is not linked to one performer, choreographer, or artistic director. Bassae (Tamara Karpova) left the Trocks in 1976 to form his own company, Les Ballets Trockadero De La Karpova (1976-1983); Anastos (Olga Tchikaboumskaya) left in 1978 to pursue a career as a free-lance choreographer; and Taylor (Alexis Ivanovitch Lermontov and Suzina LaFuzziovitch) was voted out by the board in 1990. (Another spin-off company, Les Ballets Grandiva, was formed in 1996 by ex-Trocks dancer Victor Trevino and currently employs ex-Trocks such as Allen Dennis, Oswaldo Muniz, and Marcus Galante; choreographer Peter Anastos is a regular contributor to its repertoire.)

Tory Dobrin, a dancer who joined the company in 1980, assumed responsibility for artistic matters of the Trocks as its Associate Director in 1991.

The Trocks Today

While parodying the world of dance has been the consistent mission of the Trocks since their founding in 1974, much has changed about the company. No longer appearing in small Village lofts, the Trocks now perform regularly at New York City's Joyce Theatre and tour extensively in the United States and abroad.

Early members of the troupe often acted like ballerinas better than they could dance, but later members of the company are accomplished dancers. Indeed, they often dance with other professional dance companies when not engaged by the Trocks.

As New York Times columnist Jennifer Dunning notes, "One of the happier conundrums of dance today is how the Trocks have come to such a perfect balance of tribute and sendup."

The enduring and persistent connection between ballet and male homosexuality is undeniable and may be related to the art's remarkably masculine provenance.

Artistic dance has proven to be a haven for glbtq people, who have made significant contributions in almost every area, including as choreographers, performers, and teachers.

Gay and lesbian theater companies attempt to create their own communities, while also fostering a sense of solidarity with the glbtq community and educating the larger society.

The Ballets Russes represents not only a crucial turning point in dance history, but as one of the earliest gay-identified multinational enterprises, it is a milestone in gay history as well.

An innovator in the "Theater of the Ridiculous," actor and playwright Charles Ludlam drew on many elements of camp and farce, but never allowed them to obscure the seriousness of his themes.

Bisexual choreographer and director Jerome Robbins was both a great choreographer of classical ballet and a Broadway innovator, but he was fearful that he might be outed.

Dancer and choreographer Paul Taylor has been an important presence in American dance since the 1950s.

One of the greatest composers in the history of music, Pyotr Ilich Tchaikovsky inspired a cult of gay admirers who detected in his work themes of forbidden love.