When we speak, Peck is still weeks away from her big choreographic debut, but shes ready.
On this point, Peck was resolute.
Lately, the idea is that to be exciting and new, choreography has to be super-contemporary.
Photo: Erin Baiano
And I just dont think thats the case, she explains.
Theres a way to still use the classical form, but make it interesting…. 2among her very favorite piecesall of which are set to piano concertos.
I could showcase a lot of different styles.
Tiler Peck rehearsing Roman Mejia forConcerto for Two Pianos.
It helped that Andrew Litton, City Ballets music director, gave it enthusiastic support.
As for the process of creating movement, for Peck it all came down to the music.
She also wanted a bigger corps because the music calls for that.
Peck in costume fittings with India Bradley.
(When they tell me it cant be done, Im like, I think it can.Watch.)
She was clear about this when she went to designer (and noted balletomane) Zac Posen.
In ballet, the music comes first, the dance comes second, and the costumes come third.
As if wed miss it!
shouted an eager patron.
