A Justin Peck ballet doesn’t look like anything else. gvsmith asked Peck and his collaborators to decode his artistic tics
doesn’t look like anything else. He is mathematical like Balanchine, but there’s more of a lightness, an everyday quality that feels playful, even when the steps are technically arduous. He can be surprising and direct; at the same time, his movements make the performers seem like they’re dancing in private, or for each other, barely acknowledging the audience. His work can feel surprising, zigging when you expect a zag, tilting a dancer off balance or pulling her in opposing directions.
Peck was a dancer with the company for 12 years before becoming its resident choreographer, and he works out every movement on his own body before he brings it to rehearsal, recording it on his phone. Justin Peck sees these kinds of movements as subverting the audience’s expectations. “It’s playing against the conventions of classicism in ballet,” he says. “You think they’re gonna go this way, and they go the other way, and that provokes a kind of excitement in the viewer. It’s a lot of thinking about how the body can take the road less traveled.”Instead of chests out, smiling faces turned upward, Peck’s dancers tend to act like the audience isn’t there.
Peck’s steps often require the dancers to shift their weight in counterintuitive ways, pulling the upper body one way while the lower does something else entirely. “His coordination from one movement to the next is very specific to his own abilities,” says principal Anthony Huxley. as an influence. “A lot of my musicality is rooted in tap,” he says. “Even though it’s silent, the quality of the movement can be percussive.”Where Balanchine’s ballets are propulsive, “Justin rewinds the body, so we’re going almost in reverse,” says Delgado. “But when you watch him demonstrate, you don’t see a reversal; you see movement forward.” With principal Tiler Peck , he created a rewinding step she thinks of as a pointe-shoe moonwalk.
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