Tiler Peck’s story is like a movie. She is from Bakersfield, California and got her start dancing when she was young at her mother’s dance studio. Jazz technique was her favorite, but her mother encourage her to have a strong ballet base. At seven she began to take private classes with Bolshoi ballerina Alla Khaniashvili. Soon after, she began ballet classes in Santa Monica at Westside School of Ballet from former New York City Ballet (NYCB) principal Yvonne Mounsey and with other NYCB alum Colleen and Patricia Neary. She continued to do other performing arts activities such as acting and singing as a child, and with the help of her agent, Victoria Morris, Peck was also able to advance her career. Some of these career pushing activities included movies (I.e. Donny Darko, A Time for Dancing, and Geppetto), ballet performances such as Clara (en Pointe) in the the Radio City Spectacular at Universal Studios at ten, and Broadway in NYC at 11 in the revival of The Music Man. At thirteen her mentors, and NYCB alumni encouraged her to apply to the School of American Ballet. She was accepted and began her studies in NYC for two summers before moving to New York to study Ballet full-time. At New York City Ballet, one of the most prestigious ballet companies in the world, she moved up the ranks quickly. In 2004 she joined as an apprentice. In 2005 as apart of the corp. In 2006 she was promoted to soloist. Finally, in 2009 she was moved up to a principal where continues to be today. (All date and background information found through Dance Magazine’s “The Magnetic Tiler Peck” by Astrida Woods)
Her artistry in her dancing is breathe taking. Peck loses herself on stage in a work and has developed a musicality that is revered. She makes every port de bra, every pirouette, and each arabesque look natural and unhurried. Her presence within pieces such as Christopher Wheeldon’s Carousal or the Romantic duet in Jerome Robbin’s Fancy Free is storytelling that can make any ballet hater want to go see another. Peck’s story isn’t all sunshine and roses. Just like any artist she has had successes as well as set backs. In 2007, at eighteen, she broke her back and was out for six months. That kind of injury, and that length of time being out can be career ending. The loss of technique, flexibility, and the competition of up and coming ballerinas can put many injured dancers at a crossroad where they need to retire. Peck persevered, healed, and became more flexible, a stronger dancer, and developed a thought process of potential plans after dancing.
In the performing arts world there has been exploration among artists who continue to push boundaries as not only an artist, but continue to develop new ways to increase revenue streams and become more of a public face. In music you see artists crossing genres like Taylor Swift going from Country to Pop or even switching performing art styles like Kiesza going from being a professional dancer to a singer. In dance, it’s becoming more prevalent for professional ballet dancers to do other activities outside of their company contract. In Peck’s case she recently had the lead role in a new musical performed at the Kennedy Center called Little Dancer as well as did a six week run on Broadway with On The Town. Peck isn’t the only one in the ballet world doing cross over work. Other artists such as Robert Fairchild (led of Wheeldon’s Broadway Musical An American in Paris) and Megan Fairchild (On The Town). It doesn’t stop there either. Just like musical acts, they are starting to cash in on branding, like Peck with Body Wrappers Apparel, Misty Copland with under armor, and Lauren Froderman with Gatorade. These crossovers are exciting because Ballet and dance in general is becoming more popular in society and not just looked as an elite art form.
If you look at Peck story it seemed that she was destined to be at NYCB. Her story also gives you insight on how a successful Ballerina gets to the top and understanding that sacrifice as a child is where it starts. Peck didn’t have a normal life. She pushed boundaries by being involved in all walks of the performing arts, left home at a young age, and had developed an understanding that she is not going to be a ballerina forever. For now, I look forward to continuing to see her breath taking performances around the world, as well as being a role model for mini ballerinas to look to for strength, guidance, and an understanding of the dance world.
Below you will find Tiler Peck’s insight and dancing on Balanchine’s TSCHAIKOVSKY PAS DE DEUX