A few months ago, Tiler Peck turned 25. It’s an age when most ballet dancers are earning their first breakout roles, gradually discovering who they are onstage.

Not Peck. She followed an uncommonly accelerated path to the spotlight, joining New York City Ballet as an apprentice in 2004 at age 15 and becoming a principal in 2009. An enormously versatile dancer with prodigious technical gifts, she already has an enviable ballet resumé. She knows exactly who she is on NYCB’s stage.

Yet Peck has an appetite for challenges that has led her outside the ballet world. Her growing list of musical theater credits isn’t a surprise to longtime fans: Peck started out in jazz and commercial work, earning a role in director/choreographer Susan Stroman’s production of The Music Man on Broadway when she was just 11. She and her husband, fellow NYCB principal Robert Fairchild, had a well-received turn in the New York Philharmonic’s production of Rodgers and Hammerstein’s Carousel last year, which was later broadcast on PBS.

In October, Peck will take on her biggest theatrical challenge to date: She’s set to dance (and sing and act) the title role in the new musical Little Dancer at the Kennedy Center. The project reunites her with Stroman, who custom-tailored Little Dancer—the story of the student who inspired Edgar Degas’ iconic sculpture—to Peck. “I was envisioning Tiler even as we were writing it,” Stroman says. “From the earliest stages, it was always her in my mind.”
In a way, Peck is a throwback to crossover dancers from 50 years ago. She’s a modern-day Vera Zorina, with that dare-you-to-look-away star quality many of today’s ballerinas lack. There is a certain hardness to that kind of glitter; Peck has yet to master the more soulful roles of the classical repertoire, and Broadway’s razzle-dazzle seems unlikely to deepen that side of her artistry. But few performers feel as at home singing Rodgers and Hammerstein as they do dancing Balanchine. What other 25-year-old could inspire a Broadway director to conceive a musical for her while simultaneously serving as a muse for contemporary ballet choreographers? Peck is a true stage animal.

Navigating her jam-packed schedule—at the moment, she’s essentially working two full-time jobs as she rehearses for Little Dancer’s opening—requires exceptional drive. That’s never been a problem for Peck. Even as a young child studying jazz and other styles at her mother’s dance studio in Bakersfield, California, she was always hungry for more opportunities. In her jazz classes, she discovered the freedom that now characterizes her performances at NYCB. “I think that background gave me something unique—it kept me from being afraid,” she says. “In jazz, you’re throwing your body around all the time. You learn to just go for it.”

At 7, Peck began studying with former Bolshoi dancer Alla Khaniash­vili. Though it took her a while to warm up to ballet—“I was always ‘sick’ when it was time for ballet class,” she remembers—her mother insisted that she develop a solid technical foundation. Later Peck worked with former NYCB dancers Yvonne Mounsey and Colleen and Patricia Neary, who introduced her to Balanchine technique.

At the time, however, Peck was more interested in commercial work. When she got the call for The Music Man audition, she figured it was a long shot—previously, the role of mayor’s daughter Gracie Shinn had been played by an 18-year-old—but ended up booking the job. She moved to New York for a year to perform in the show, accompanied by her grandmother. While in New York, Peck began studying at the School of American Ballet, and found that she relished the difficulty of Balanchine’s style. A few years later, she enrolled in the school’s full-time program.

Peck loved living with like-minded ballet students, including Fairchild, in the school’s dorms. “It was like college, but at 14,” she says, laughing. Soon Fairchild became her first boyfriend. He also came from the jazz world—they’d first met a few years earlier in a jazz class at Steps on Broadway. “What we felt for each other was so big that at that age, we didn’t know what to do with it,” Peck says. They were an on-again, off-again couple for years. “I always knew she was the one,” Fairchild says, “but we both needed to grow up a little.”

At 15, Peck became a NYCB apprentice, and a few months later she joined the corps de ballet. Before long, artistic director Peter Martins had cast her as the lead in his Friandises, a showcase for rising corps dancers. Roles began coming thick and fast; Martins felt she was ready. “You would have to have your eyes closed not to recognize Tiler’s gifts,” he says. “Even at a very young age, she had an uncanny ability to understand the essence of each ballet—be it classical, romantic, contemporary, or neoclassical.”

Peck was just 20 when she became a principal. A couple years later, Stroman arrived at the NYCB studios to choreograph a new work, Frankie and Johnny…and Rose, with Peck at its center. By then Stroman had already begun thinking about Little Dancer. When Stroman asked Peck to participate in the musical’s workshop, the ballerina was initially taken aback. “I knew I wanted to come back to musical theater eventually, but I thought it would be something I’d do later on, a transition out of ballet,” she says. “I love City Ballet, and I have so much more to accomplish here.” Still, she found herself drawn to the show’s story, which follows the spirited Paris Opéra Ballet student who posed for Degas’ Little Dancer Aged Fourteen sculpture. Stroman and Martins worked together to ensure that none of her work on Little Dancer, which has a limited run at the Kennedy Center, would conflict with her NYCB schedule. “I didn’t want to choose one or the other—I wanted it all,” she says. “I’m so happy that somehow it worked out.”

Peck and Fairchild also worked out: In June, they married in New York City. Over the past few years, as they began dating seriously, they have danced together with increasing frequency, both at NYCB and on side gigs. “Not only do we have a great time together—she laughs at my jokes!—but we also push each other to be better,” Fairchild says. Peck appreciates that the two of them share the same drive. “When I’m working with other partners, I’ll say maybe five of the 10 things I want to fix,” she says. “With Robbie, we’re so close that we can both say it all, and make everything as perfect as possible.”
Though Peck sees more Broadway in her distant future, her current goals remain ballet-focused. She still dreams of conquering the dramatic roles that have so far eluded her, particularly Odette/Odile in Swan Lake. She has also enjoyed showing more of her natural persona onstage through the vibrant ballets of Justin Peck. There are more ballet mountains for her to climb, and she’s not a timid mountaineer.

 “The thing about Tiler is that you always have fun watching her onstage,” Fairchild says. “She works incredibly hard in the studio, and that’s how she’s become such a powerful artist. But by the time she gets to the performance, there are no nerves. You know it’s going to be spot on.”

Andersen in Balanchine's "Valse-Fantaisie." Photo by Daniel Azoulay, Courtesy Miami City Ballet.

I got my corps contract on my 18th birthday. It was such a relief. I had convinced myself that I would be okay not dancing, but inside I just wanted to get a contract with Miami City Ballet.

I'd trained at Milwaukee Ballet School pretty much my whole life, and in 2014 I went to the MCB summer program and loved it. They invited me to stay for the year, and right when I got there, they offered me an apprenticeship. I spent the next two years as an apprentice. My second year I got to tour with the company and did Swan Lake, The Nutcracker and Bourrée Fantasque.

Once I was told that I had a contract, it felt like so much weight was lifted off my shoulders. Every single person came up and individually congratulated me. They were so kind, and ever since then they've been like a big family.

It's such a jump from being in a school setting to being in the company. I'm lucky that I was able to experience so much firsthand as an apprentice, but there were still some things that I couldn't get used to. As an apprentice, I would spend half my day rehearsing and taking class at the school, and the other half rehearsing with MCB. Once I got into the company, there was so much less work. It was hard to stay in shape and make sure that I was on top of my dancing. The ballet masters don't give you as many corrections, and I didn't have anybody there to discipline me. It was all self-motivation.

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Master pointe shoe fitter Josephine Lee is back, this time sharing her tried-and-true advice from the streets of New York City. While conducting a pointe shoe seminar at the Joffrey Ballet School's NYC Ballet Intensive, Lee put together a list of five things to keep in mind when choosing a summer program. Whether you're about to embark on this summer's intensive or are already thinking ahead for next year, these are good tips to keep in mind. And what better way to receive advice than while viewing a stroll through some of our favorite ballet-happy spots in NYC?

American Ballet Theatre's Cassandra Trenary seems to have it all—not only is our June/July 2016 cover star a dazzling soloist at ABT, she has a sunny, down-to-earth personality and a life-saving hero for a husband. But her first year in the company had its fair share of disappointments—in fact, she almost left dance altogether to pursue acting.

In May, the National YoungArts Foundation, an organization that provides scholarships and mentorship to aspiring performing artists, brought Trenary (herself a 2011 YoungArts winner) and ABT artist in residence Alexei Ratmansky together for a salon-style discussion. Together they talked about critical turning points in their careers, as well as the challenges of navigating the dance world as a young professional. Below are exclusive excerpts of their interview—we hope their words inspire you as much as they inspire us!



There's still time to enter YoungArts's national arts competition for a chance at scholarships, workshops and more. Click here for information on how to apply.

ADrian Durham in CPYB's production of "The Legend of Sleepy Hollow." Photo by Rosalie O'Connor, Courtesy CPYB.

As a teenager, Adrian Durham studied at his local ballet school in Lake Charles, Louisiana. "I was one of three or four guys training there, and there were no male teachers," says Durham. "Most of my partnering experience came from rehearsals for performances." But after he began training with the male scholarship program at Central Pennsylvania Youth Ballet in 2014, he experienced a sea change. "It challenged me mentally, physically and emotionally, because it's such an intense program," he says. Now 20, he is preparing for a professional career with an integrated set of tools: ballet technique, physical strength and partnering skills.

Men's ballet technique classes have been available for decades, especially at summer intensives and urban ballet schools. Yet programs designed specifically for male dancers, often offering full scholarships, have been rarer—until now, that is. Training that allows boys to separately explore their skills, above and beyond a supplement of double tours en l'air and pirouettes à la seconde at the conclusion of a mixed class, can literally give young men a leg up as they aspire towards a dance career.

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Alessandra Ferri in "Romeo and Juliet." Photo by Rosalie O'Connor, Courtesy ABT.

To watch Irina Kolpakova coach Swan Lake is to witness a true artist at work. Although long retired from the stage, the American Ballet Theatre ballet mistress still possesses a commanding presence and an instinctive artistic spirit.

"Don't think about your shape when you first see Siegfried," she tells principal Isabella Boylston during rehearsal for Odette's Act II entrance. "This is not 'port de bras.' This is 'Don't touch me!' " Kolpakova demonstrates, transforming instantly into the Swan Queen. Her eyes sparkling and alive, every inch of her diminutive stature swells with a palpable energy capable of reaching the highest ring of the balcony.

Call it stage presence, call it the "it" factor, some dancers just have a natural ability to draw people in and change the atmosphere around them. Stage presence can carry a dancer to a higher artistic realm. It's the final piece of the puzzle, the emotional heart of a performance that can bring an audience to tears. Without it, even the best choreography risks falling flat.

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Via Instagram

Last fall, Diana Vishneva shocked her NYC following when she announced that she would give her final performance with American Ballet Theatre on June 23, 2017. The Russian-born dancer has been part of ABT since performing in Romeo and Juliet as a guest artist in 2003, and has held the title of principal dancer with the company since 2005 in addition to her principal role with the Mariinksy Ballet. Throughout her time with ABT, which she spoke about in the below video for The New Yorker, Vishneva has danced as a guest artist with Bolshoi Ballet, Paris Opera Ballet and Berlin State Ballet.


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Karen Kain is internationally renowned as a performer and as the National Ballet of Canada's artistic director. The former NBoC principal always carries herself with the grace and sophistication of a true leader. However, in this 1976 clip from Giselle, the distinguished ballerina is convincingly naïve and bewildered in her interpretation of the mad scene.



Kain conveys Giselle's innocence at the start of the scene with pure, unaffected gestures and facial expressions. Then, after Albrecht betrays her, her eyes stare unfocused into the distance as if she's in a trance. Although this scene is mostly acting, Kain dances dreamily to the musical motif at 5:30 and conceals her technical strength in order to show the character's frailty. It takes a true ballerina to perform this heartbreaking and beautiful role, and with performances like this and her lifelong commitment to the art form, Kain proves that she is an extraordinary one. Happy #ThrowbackThursday!

Photo by Quinn Wharton

How can I wean myself off my coffee fix without experiencing headaches and crankiness that will disrupt my rehearsal process? —Lauryn

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