As the world we live in gets increasingly more divided—socially, politically, economically—there is no more joyous occasion than coming together for a beautiful piece of art that leaves the collective room oohing and aahing. Lucky for me, I found myself at such an occasion this past week: Turn It Out with Tiler Peck & Friends at the esteemed New York City Center. A world-class ballerina and principal dancer at New York City Ballet, Peck has been gracing stages all over the world for many years. Yet, it takes a consummate visionary, an artist with exciting inventiveness and whimsy, to curate a program so bold and boundary-defying, while also embracing the classical elements with warmth and familiarity.
And that’s exactly what Peck did. By gathering some of the best dancers in the world to join her, Peck has created a standout night in New York, one I’ll be thinking about all year long.
Up first was the The Barre Project, Blake Works II. Joining Peck was Jeffrey Cirio, Lex Ishimoto, and Peck’s husband, the striking Roman Mejia. The quartet took turns showcasing their incredible classical technique at the barre, including rapid, rhythmic dégagés, and pirouettes that mesmerized with expert levels of balance and suspension. The quartet moved in and out of complicated patterns both individually and together; blink too slow, and you would miss it. The constant changing of costumes seemed to be the only thing marking the passage of time, because the speed and precision at which the dancers moved was a force all its own. I didn’t want it to end.
Luckily, Thousandth Orange followed, which proved to be the perfect counterpart. Choreographed by Peck originally for the Vail Dance Festival, this piece showcases 6 dancers, all dressed in dreamy pastel hues. As the curtain rose, the audience visibly gasped—the piece immediately felt like a breath of fresh air, and only got better with time. Joined by the Bergamot Quartet on strings and piano, the 6 dancers moved like rippling water across the stage, partnering each other in a series of dynamic lifts and stunning développés. A notable standout was India Bradley—Striking and statuesque, Bradley perfectly suited the choreography, and had a radiant stage presence I found myself seeking out.
Time Spell, choreographed by Michelle Dorrance, Jillian Meyers, and Tiler Peck, can only be described as the most fun party on stage. With an intermingling of dance styles—ballet, tap, contemporary—the dancers moved through the genres limitlessly, as if the movements were coming to them in real time and they had decided to dance them on the spot. What I found most interesting about Time Spell was what it says about the world at large: we can have our differences and unique perspectives, but that doesn’t mean we can’t all come together and appreciate the gifts of others. The piece is about sharing and collaboration, and that flow of energy and joy between dancers is a feeling we can all benefit from.
But the most powerful piece of the evening was the quietest: Swift Arrow, a pas de deux for Peck and Mejia, choreographed by the legendary Alonzo King. Set to heartbreaking music by Jason Moran, I found myself on the edge of my seat the entire time. The emotional connection Peck and Mejia have is undeniable, and that was brilliantly mirrored in the partner work. The duo moved as one; a continuation of limbs that traversed the space gently and with ease. More than the individual steps, it was the care they showed one another; one the bow and one the arrow, that created a symphony of movement I can honestly say I’ve never seen before.
What an extraordinary evening. Brava to Tiler Peck, and all of the incredible artists who contributed their talents!
Photo Credit: Christopher Duggan
