It is not unusual for a New York City Ballet program to consist of two Peck ballets and a Ratmansky. But until last night, there had not been two different Pecks represented in such a scenario. Elite principal dancer Tiler Peck has made her first ballet for her home troupe, “Concerto for Two Pianos,” and it is masterful. In so doing, she has posed a unique problem for dance writers: forevermore we are going to have to use precious article space to explain that Tiler is no relation to Justin Peck, even though she is now also a bona fide choreographer. (We will also have to differentiate them. Honorifics feel bulky to me today, so I’ll use first names for clarity.) Oh dear, audience members are already so confused. I overhear queries about their relationship all the time in the seats. It would be so much more plausible if they were twins, or married, or at least distant cousins. So be it: “Tiler Peck: Choreographer” is clearly here to stay.
The son of a painter and a set designer, director/choreographer Jean-Christophe Maillot was, it seems, destined to have a life in the theater. Born and raised in Tours, in central France, in 1960, he studied dance and piano at the Conservatoire Nacional de Région de Tours before joining the Rosella Hightower International School of Dance in Cannes.Continue Reading
One would think that a dance inspired by the events of the January 6 insurrection—yes, a dance!—would not be the ideal stuff of theater, but the eight members of Laurie Sefton Creates (formerly Clairobscur Dance Company), succeeded in giving life to Sefton’s premiere “Herd. Person?”, while the dance, itself, was occasionally problematic.Continue Reading