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Two Young Choreographers on the Move: Justin Peck and Troy Schumacher

Last week I attended lecture-dems showcasing the work of two young choreographers, both of whom are also members of New York City Ballet. I wonder what they’re putting in the rosin over there at the StateTheatre, because there really seems to be an upsurge in creativity in the ranks. (But why, still, no women choreographers?) The notion that ballet is a languishing form flies out of the window when one sees their work and hears them talk.

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Works & Process talk at the Guggenheim: Ellen Barr, Justin Peck, Michael P. Atkinson, Sufjan Stevens and Karl Jensen. Photo by Jacklyn Meduga for Works & Process at the Guggenheim.

You’ll find a discussion of the two events here, for DanceTabs. And a short excerpt:

“It has now become clear that ballet is undergoing an important evolution, and I’m not referring to the overwrought, effect-laden mannerisms of much of what is referred to as “contemporary ballet.” This is a change that is blossoming within ballet’s own idiom, using the specific skill-set of ballet dancers: jumping, turning, balancing, sliding, skittering on pointe, flickering the legs at warp speed, tipping and extending hyper-articulate bodies.”

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An Interview with Troy Schumacher (DanceTabs)

Over the holidays, I sat down with the young choreographer Troy Schumacher, a dancer at New York City Ballet. He recently initiated a collaborative project, Satellite Ballet with a librettist and composer. This year they had their second season. You can find my interview with Troy here.

And a short excerpt:

“Like many dancers, I read reviews. I enjoy reading them, not that I always agree. I want to hear everyone’s honest perspective. I take a lot into account, and dance critics come at it from a position of knowing dance and watching dance all the time. Even too much, sometimes. They point out interesting things. I’m not doing this so people think I’m a genius. I just want to create works and add something meaningful to dance and to ballet and also bring other people to dance with intimate, accessible performances.”