Tiler Peck photographed by Nathan Sayers for Pointe.

Tiler Peck: Her Career, Her Romance, Her Broadway Plans...And Her Dogs

This is Pointe's August/September 2014 Cover Story. You can subscribe to the magazine here.

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.


Peck with Amar Ramasar in Justin Peck's "Everywhere We Go." Photo by Paul Kolnik, Courtesy NYCB.


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."


Peck as Aurora in "Sleeping Beauty." Photo by Paul Kolnik, Courtesy NYCB.


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."

Latest Posts


Peter Mueller, Courtesy Cincinnati Ballet

2020 Stars of the Corps: 10 Dancers Making Strides In and Out of the Spotlight

The corps de ballet make up the backbone of every company. In our Fall 2020 issue, we highlighted 10 ensemble standouts to keep your eye on. Click on their names to learn more!

Dara Holmes, Joffrey Ballet

A male dancer catches a female dancer in his right arm as she wraps her left arm around his shoulder and executes a high arabesque on pointe. Both wear white costumes and dance in front of a blue backdrop onstage.

Dara Holmes and Edson Barbosa in Myles Thatcher's Body of Your Dreams

Cheryl Mann, Courtesy Joffrey Ballet

Wanyue Qiao, American Ballet Theatre

Wearing a powder blue tutu, cropped light yellow top and feather tiara, Wanyue Qiao does a piqu\u00e9 retir\u00e9 on pointe on her left leg and pulls her right arm in towards her.

Wanyue Qiao as an Odalisque in Konstantin Sergeyev's Le Corsaire

Gene Schiavone, Courtesy ABT

Joshua Guillemot-Rodgerson, Houston Ballet

Three male dancers in tight-fitting, multicolored costumes stand in positions of ascending height from left to right. All extend their right arms out in front of them.

Joshua Guillemot-Rodgerson (far right) with Saul Newport and Austen Acevedo in Oliver Halkowich's Following

Amitava Sarkar, Courtesy Houston Ballet

Leah McFadden, Colorado Ballet

Wearing a white pixie wig and a short light-pink tunic costume, a female ballet dancer poses in attitude front on pointe with her left arm bent across her ribs and her right hand held below her chin.

Leah McFadden as Amour in Colorado Ballet's production of Don Quixote

Mike Watson, Courtesy Colorado Ballet

Maria Coelho, Tulsa Ballet

Maria Coelho and Sasha Chernjavsky in Andy Blankenbuehler's Remember Our Song

Kate Lubar, Courtesy Tulsa Ballet

Alexander Reneff-Olson, San Francisco Ballet

A ballerina in a black feathered tutu stands triumphantly in sous-sus, holding the hand of a male dancer in a dark cloak with feathers underneath who raises his left hand in the air.

Alexander Reneff-Olson (right) as Von Rothbart with San Francisco Ballet principal Yuan Yuan Tan in Swan Lake

Erik Tomasson, Courtesy SFB

India Bradley, New York City Ballet

Wearing a blue dance dress with rhinestone embellishments and a sparkly tiara, India Bradley finishes a move with her arms out to the side and hands slightly flexed.

India Bradley practices backstage before a performance of Balanchine's Tschaikovsky Piano Concerto No. 2.

Erin Baiano, Courtesy NYCB

Bella Ureta, Cincinnati Ballet

Wearing a white dress with pink corset, Bella Ureta does a first arabesque on pointe in front of an onstage stone wall.

Bella Ureta performs the Act I Pas de Trois in Kirk Peterson's Swan Lake

Hiromi Platt, Courtesy Cincinnati Ballet

Alejándro Gonzales, Oklahoma City Ballet

Dressed in a green bell-boy costume and hat, Alejandro Gonz\u00e1lez does a saut\u00e9 with his left leg in retir\u00e9 and his arms in a long diagonal from right to left. Other dancers in late 19-century period costumes watch him around the stage.

Alejandro González in Michael Pink's Dracula at Oklahoma City Ballet.

Kate Luber, Courtesy Oklahoma City Ballet

Nina Fernandes, Miami City Ballet

Wearing a long white tutu and crown, Nina Fernandes does a saut de chat in front of a wintery backdrop as snow falls from the top of the stage.

Nina Fernandes in George Balanchine's The Nutcracker

Alexander Iziliaev, Courtesy Miami City Ballet

Quinn Wharton

Pacific Northwest Ballet's Angelica Generosa Shares Her Classic, Comfy Style In and Out of the Studio

"I love the feeling and look of effortless fashion," says Angelica Generosa. Preferring a classic style, the Pacific Northwest Ballet soloist keeps her wardrobe stocked with blazers. But they serve a practical purpose, too. "It tends to get chilly in Seattle, so it's the perfect accessory for layering," Generosa explains.

She's also quite fond of designer handbags. "They're my go-to accessory, and they're also my weakness when shopping," she says, naming Chloé, Chanel and Dior as some of her favorite brands. "I really appreciate the craftsmanship it takes to produce one—they're so beautiful and each has its own story, in a way."

In the studio, Generosa prioritizes comfort, and she'll change up her look depending on the repertoire (leotards and tutus for classical works, breathable shirts with workout pants for contemporary). But she always arrives to work in style. "I really love putting together outfits for even just going to the studio," she says. "It's another way of expressing my mood and what kind of vibe I'm going for that day."

The Details: Street

Angelica Generosa, wearing a blue blazer, white blouse and gray jeans, is photographed from underneath as she walks and looks to the right.

Quinn Wharton

BCBG blazer: "It has some shoulder pads and a really cool pattern," says Generosa. "It reminds me of my mom and '80s fashion."

Zara blouse: She incorporate neutrals, like this white satin button-up, to balance bright pops of colors.

Angelica Generosa looks off to her right in front of a glass-windowed building. She wears a blue blazer, white blouse, gray jeans and carries a small green handbag.

Quinn Wharton

Madewell jeans: Comfort is a major factor for Generosa, who gets her fashion inspiration from her mom, friends and people she comes across day to day.

Chloé bag: "I tend to have smaller purses because I'm quite small. Bigger bags overwhelm me sometimes—unless it's my dance bag, of course!"

The Details: Studio

Angleica Generosa, wearing a blue tank leotard, black wool leggings and pink pointe shoes, balances in a lunge on pointe with her left leg in front, facing a wall of windows.

Quinn Wharton

Label Dancewear leotard: "This was designed by my good friend Elizabeth Murphy, a principal dancer here at PNB. Her leotards always fit me really well."

Mirella leggings: "I get cold easily," says Generosa, who wears leggings and vests to stay warm throughout the day.

Angelica Generosa, wearing a blue tank leotard, black wool tights and pink pointe shoes, jumps and crosses her right foot over her left shin while lifting her arms up to the right.

Quinn Wharton

Freed of London pointe shoes: "When sewing them, I crisscross my elastics and use an elasticized ribbon from Body Wrappers," which helps alleviate Achilles tendon issues, she says. She then trims the satin off of the tip of the shoe. "Then I bend the shank a bit to loosen it up and cut a bit off where my arch is."

Getty Images

This New "Nutcracker" Competition Wants Your Dance Studio to be Part of a Virtual Collaboration

Despite worldwide theater closures, the Universal Ballet Competition is keeping The Nutcracker tradition alive in 2020 with an online international competition. The event culminates in a streamed, full-length video of The Virtual Nutcracker consisting of winning entries on December 19. The competition is calling on studios, as well as dancers of all ages and levels, to submit videos by November 29 to be considered.

"Nutcracker is a tradition that is ingrained in our hearts," says UBC co-founder Lissette Salgado-Lucas, a former dancer with Royal Winnipeg Ballet and Joffrey Ballet. "We danced it for so long as professionals, we can't wait to pass it along to dancers through this competition."

Keep reading SHOW LESS

Editors' Picks