The Season of Justin Peck
At first glance, Justin Peck, with his full-rim glasses and modest demeanor, resembles Clark Kent. What he's accomplished choreographically, however, seems more like Superman. At 26, the New York City Ballet soloist has already created 20 ballets, and the buzz about his talent has people equating his potential with the likes of Alexei Ratmansky and Christopher Wheeldon. Critics laud Peck's expert craftsmanship: the kaleidoscopic patterns, the layered musicality, the stylish linkage of steps and an almost freakishly uncommon ease in working with the corps de ballet.
“With Justin it wasn't difficult to see the raw gifts that he possessed right away," says NYCB ballet master in chief Peter Martins, who named Peck NYCB's resident choreographer this July. “It is my business to recognize talent when it emerges. What happens next is entirely up to him, but I am confident that it will be a very fruitful partnership."
What's next is Peck's biggest season yet: a September NYCB premiere to César Franck's Untitled piece (Solo de piano), for piano accompanied by string quintet, Op. 10; a November Pacific Northwest Ballet premiere; a February 2015 NYCB premiere to Aaron Copland's iconic Rodeo (Peck's plan is to “strip it of theatrical features and do more of a dance and music piece"); a March premiere for Miami City Ballet featuring set design by street artist Shepard Fairey; and a revival of In Creases for the Joffrey Ballet in April. Filmmaker Jody Lee Lipes' documentary Ballet 422, which focuses on Peck's creation of Paz de la Jolla, has been picked up by Magnolia Films for nationwide release. And Peck's choreography is even featured in a new app called Passe-Partout that allows anyone with an iPad to remix his steps and create a ballet on their tablet.
Peck's success is all the more startling in that he only began studying ballet 13 years ago. While employed as a supernumerary in American Ballet Theatre's production of Giselle in San Diego, Peck was blown away by the dancers' athleticism and discipline, and immediately enrolled in classes at the California Ballet. He transferred to the School of American Ballet at 15, then joined the NYCB corps four years later. “Being exposed to all these genius abstract works by Balanchine and Robbins and other choreographers working today, I got a taste for the range of what a ballet could be. I started to think about what it would be like if I tried to make my own dances."
He participated in five sessions at the New York Choreographic Institute, an affiliate of NYCB. Martins asked him to expand one of his works for the company—and the October 2012 premiere of Year of the Rabbit, set to music by Sufjan Stevens, started the rabbit run of Peck's sudden career sprint. “It sort of put me on the map as a choreographer," says Peck. “It interested other ballet companies and I started to get a lot of offers."
Lourdes Lopez, artistic director of Miami City Ballet, has since commissioned two ballets from Peck—2013's Chutes and Ladders and the upcoming premiere. “I find him incredibly inventive," she says. “He's not derivative, although you might see a little Balanchine or a hint of Ratmansky. It looks like something you've never seen before." She particularly lauds his gift of comfortably embracing pointe work, and the way that he grants both the principals and the corps their own brilliance.
Peck's never been drawn to separating out the ranks. “In Year of the Rabbit, I sort of tipped the scale in terms of the focus," he recalls. “I wanted to make the corps really stand out. It still had a lot of movement for the principals, but I was trying to challenge that hierarchy."
NYCB principal Sterling Hyltin says this structure even affects the dancers' approach: “We're all part of a large group—it almost feels like we're part of the cause. It's not about anyone, it's about the ballet."
Although one of Peck's greatest gifts lies in the ability to manipulate the morphing configurations of his dancers, Peck shrugs off the suggestion of an ingeniously mathematical mind. “For me it's easier to work with bigger groups," he says. “There is more possibility." While the energy of an ensemble of dancers feeds him, he admits that what's really challenging is to work with a few dancers, or, even worse, just one.
With every ballet, the process always begins with the music. While at SAB, Peck took piano lessons and learned to read scores. Today, he listens to a piece over and over as his starting point. “From there I start to come up with a structure for the ballet," he says. “Then I'll plot out all the counts and what I'm planning to do with the music at each point. Being prepared allows for a sense of spontaneity once the dancers are in the studio."
He's picky about the composers he'll collaborate with. He counts Sufjan Stevens and Bryce Dessner among the few he trusts. “They're both classically trained, so they have an understanding of the classical genre and also have experience writing whatever you want to call it: rock, pop, folk or indie," says Peck. (They both also know how to craft a score that's danceable, a special skill.)
Lopez says that for someone so young, Peck shows a mature command in the studio. “He has the ability to walk in and engender a certain kind of respect from the dancers," she says. “He's very confident in his skin—very authoritative, calm, doesn't get flustered. It's a very cerebral process."
Continuing to dance with an ever-mounting choreographer's schedule has proven tricky. Peck, promoted to soloist in 2013, is honest about the challenges, especially transitioning from creator to interpreter. “After premiering Everywhere We Go and then returning to performing almost every evening, I remembered how painful dancing is physically," he says. But he also appreciates the way his creativity benefits from dancing alongside his colleagues and knowing them personally. He has sensibly turned down some offers to choreograph: “I'm trying to maintain a sense of balance and pace myself. It's hard to say no, though."
In addition to champions like Lopez and helpful advisors such as Ratmansky, Wheeldon and Benjamin Millepied, Peck cites Peter Martins for his invaluable support. “He's someone I can confide in and speak to not just about the work but the whole process of choreographing in an institution," he says.
And if NYCB's resident choreographer could speak with its founding choreographer, Mr. Balanchine, what would he say? “I would have a conversation on music, and how it relates to dance," Peck says without hesitation. “And talk to him about specific works. I would just be in heaven speaking with him."
Joseph Carman is a frequent contributor to Dance Magazine.
Two photos, from top: Ashley Bouder and NYCB in Peck's Year of the Rabbit, by Paul Kolnik, Courtesy NYCB; Dance Project in Peck's Murder Ballads, Courtesy LADP.
Choosing music for your first-ever choreography commission can feel daunting enough. But when you're asked to create a ballet using the vast discography of the Rolling Stones—and you happen to be dating Stones frontman Mick Jagger—the stakes are even higher.
So it's understandable that as of Monday, American Ballet Theatre corps de ballet dancer Melanie Hamrick, whose Port Rouge will have its U.S. premiere tonight at the Youth America Grand Prix gala, was still torn about which songs to include.
The way we create and consume dance is changing every day. Now more than ever, the field demands that dancers not only be able to perform at the highest level, but also collaborate with choreographers to bring their artistic visions to life. Dancers who miss out on choreographic training may very well find themselves at a disadvantage as they try to launch their careers.
What is an acceptable request from a choreographer in terms of nudity? On the first day of shooting All That Jazz in the 1970s, Bob Fosse asked us men to remove everything but our jock straps and the women to remove their tops. His rationale was to shock us in order to build character, and it felt disloyal to refuse. Would this behavior be considered okay today?
As much as audiences might flock to Swan Lake or The Nutcracker, ballet can't only rely on old war horses if it wants to remain relevant. But building new full-lengths from scratch isn't exactly cheap.
So where can companies find the money?
It's not often that a promising choreographer gets to stage work in a world-class theater, on a skillfully-curated program with professional dancers, and with the possibility of winning a substantial cash prize. But at the McCallum Theatre's Palm Desert Choreography Festival, that's been the status quo for over twenty years.
Since Shea New, the festival's artistic director, founded the festival in 1998, she's worked tirelessly with McCallum's director of education and festival producer, Kajsa Thuresson-Frary, and stage manager and festival production manager Joanna Fookes to build a festival that nurtures choreographers, highlights high quality work, powerfully engages the local community and cultivates an audience base for dance in the Coachella Valley. The trio is backed by a strong team of professionals at McCallum and the brilliant volunteers from the local and national level who serve as adjudicators.
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Today—April 16, 2019—marks what would have been Merce Cunningham's 100th birthday. As dancers from Los Angeles to New York City to London gear up for Night of 100 Solos (the marathon performance event being livestreamed today), and as companies and presenters worldwide continue to celebrate the Cunningham Centennial through their programming, we searched through the Dance Magazine Archives to unearth our favorite images of the groundbreaking dancemaker.
A bright disposition with a dab of astringent charm is how I remember Brock Hayhoe, a National Ballet School of Canada schoolmate. Because we were a couple years apart, we barely brushed shoulders, except at the odd Toronto dance party where we could dance all night with mutual friends letting our inhibitions subside through the music. Dancing always allows a deeper look.
But, as my late great ballet teacher Pyotr Pestov told me when I interviewed him for Dance Magazine in 2009, "You never know what a flower is going to look like until it opens up."
One night. Three cities. Seventy-five dancers. And three unique sets of 100 solos, all choreographed by Merce Cunningham.
This incredible evening of dance will honor Cunningham's 100th birthday on April 16. The Merce Cunningham Trust has teamed up with The Barbican in London, the Brooklyn Academy of Music in New York City and the Center for the Art of Performance in Los Angeles for a tri-city celebration.
The best part? You don't have to be in those cities to watch—Night of 100 Solos is being live-streamed in its entirety for free.
When George Balanchine's full-length Don Quixote premiered in 1965, critics and audiences alike viewed the ballet as a failure. Elaborate scenery and costumes framed mawkish mime passages, like one in which the ballerina washed the Don's feet and dried them with her hair. Its revival in 2005 by Suzanne Farrell, the ballerina on whom it was made and to whom Balanchine left the work, did little to alter its reputation.
Yet at New York City Center's Balanchine festival last fall, some regretted its absence.
"I'd want to see Balanchine's Don Quixote," says Apollinaire Scherr, dance critic for the Financial Times. "It was a labor of love on his part, and a love letter as well. And you want to know what that looks like in his work."
Even great choreographers make mistakes. Sometimes they fail on a grand scale, like Don Quixote; other times it may be a minor misstep. Experiment and risk help choreographers grow, but what happens when a choreographer of stature misfires? Should the work remain in the repertory? And what about a work that fails on some levels but not others?
After the horrific March 15 terrorist attacks at two New Zealand mosques, the music and arts community sprang into action to plan a way to help victims and their families. A series of resulting concerts, titled "You Are Us/Aroha Nui," will take place in New Zealand (April 13 and 17), Jersey City, New Jersey (April 17) and Los Angeles (April 18). Proceeds from ticket sales will be donated to the Our People, Our City Fund, which was established by the Christchurch Foundation to aid those affected by the attacks.
Throughout 2019, the Merce Cunningham Trust continues a global celebration that will be one of the largest tributes to a dance artist ever. Under the umbrella of the Merce Cunningham Centennial are classes and workshops, film screenings and festivals, art exhibitions and symposia, and revivals and premieres of original works inspired by the dancemaker's ideas. The fever peaks on April 16, which would have been the pioneering choreographer's 100th birthday, with Night of 100 Solos: A Centennial Event, featuring a total of 75 dancers in three performances live-streamed from London, Los Angeles and New York City.
Cloud & Victory gets dancers. The dancewear brand's social media drools over Roberto Bolle's abs, sets classical variations to Beyoncé and moans over Mondays and long adagios. And it all comes from the mind of founder Tan Li Min, the boss lady who takes on everything from designs to inventory to shipping orders.
Known simply (and affectionately) to the brand's 41K Instagram followers as Min, she's used her wry, winking sense of humor to give the Singapore-based C&V international cachet.
She recently spoke with Dance Magazine about building the brand, overcoming insecurity and using pizza as inspiration.
The Ballet Memphis New American Dance Residency, which welcomes selected choreographers for its inaugural iteration next week, goes a step beyond granting space, time and dancers for the development of new work.
This is huge news, so we'll get straight to it:
We now (finally!) know who'll be appearing onscreen alongside Ariana DeBose and the other previously announced leads in Steven Spielberg's remake of West Side Story, choreographed by Justin Peck. Unsurprisingly, the Sharks/Jets cast list includes some of the best dancers in the industry.
The pleasure of watching prodigies perform technical feats on Instagram can be tinged with a sense of trepidation. Impressive tricks, you think, but do they have what it takes for an actual career?
Just look at 18-year-old Maria Khoreva, who has more followers than most seasoned principals; in videos, her lines and attention to detail suggested a precocious talent, and led to a Nike ambassador contract before she even graduated from the Vaganova Ballet Academy. Still, when she joined the Mariinsky Ballet last summer, there was no guarantee any of it would translate to stage prowess.
What's next for the dance world? Our annual list of the dancers, choreographers and companies that are on the verge of skyrocketing has a pretty excellent track record of answering that question.
Here they are: the 25 up-and-coming artists we believe represent the future of our field.
At six feet tall, Jesse Obremski dances as though he's investigating each movement for the first time. His quiet transitional moments are as astounding as his long lines, bounding jumps and seamless floorwork. Add in his versatility and work ethic, and it's clear why he's an invaluable asset to New York City choreographers. Currently a freelance artist with multiple contemporary groups, including Gibney Dance Company and Limón Dance Company, Obremski also choreographs for his recently formed troupe, Obremski/Works.
Last night at Parsons Dance's 2019 gala, the company celebrated one of our own: DanceMedia owner Frederic M. Seegal.
In a speech, artistic director David Parsons said that he wanted to honor Seegal for the way he devotes his energy to supporting premier art organizations, "making sure that the arts are part of who we are," he said.
It's a bit of an understatement to say that Bob Fosse was challenging to work with. He was irritable, inappropriate and often clashed with his collaborators in front of all his dancers. Fosse/Verdon, which premieres on FX tonight, doesn't sugarcoat any of this.
But for Sasha Hutchings, who danced in the first episode's rendition of "Big Spender," the mood on set was quite opposite from the one that Fosse created. Hutchings had already worked with choreographer Andy Blankenbuehler, who she calls "a dancer's dream," director Tommy Kail and music director Alex Lacamoire as a original cast member in Hamilton, and she says the collaborators' calm energy made the experience a pleasant one for the dancers.
"Television can be really stressful," she says. "There's so many moving parts and everyone has to work in sync. With Tommy, Andy and Lac I never felt the stress of that as a performer."