How did Sufjan Stevens, the indie-folk singer known for songs about Illinois, end up in the ballet scene? Just ask Justin Peck, the 26-year-old soloist at New York City Ballet making waves for his innovative and playful choreography.
Peck, who collaborated with Stevens for "Year of the Rabbit" back in 2012, once again brings Stevens onboard for his latest piece, "Everywhere We Go," with a new orchestral composition commissioned by NYCB. The result is a vibrant, kaleidoscopic work set to an ever-changing nine-movement orchestral score. (Such effects are only enhanced by the graphic-striped costumes designed by former NYCB principal dancer, Janie Taylor).
We snuck backstage before their latest performance on May 30 to see what goes on behind the scenes and on the stage. As expected, there were boxes and boxes of bobby pins, rows of hairspray, and stacks of makeup everywhere. And the performance? Well, let's just say it made us want to put on our ballet shoes and prance about once more.
"Everywhere We Go" will only be performed two more times this season, on Saturday May 31 at 2 PM and 8 PM. Tickets are still available at New York City Ballet. It will return for NYCB's fall season.![]()
During intermission, the dancers from Sufjan Stevens and Justin Peck's collaboration, "Everywhere We Go," warm up and tie on their pointe shoes, sewing the straps together to keep them secure. Photos by Jessica Chou
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The inspiration board for the makeup and hair department, led by Suzy Alvarez and Karla Elie. Most dancers do their own makeup, but certain roles require the pros.
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The dressing room for principal dancers Tiler Peck and Teresa Reichlen
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Teresa Reichlen finishing up her eye makeup![]()
Dancers usually go through one pair of shoes per show. Used shoes are oftentimes signed and given to fans.![]()
The hair for "Everywhere We Go" is unusual for classical ballet: A pouf up front and a bun in the back. Rumor has it, it's the signature hairdo for "Everywhere We Go" costume designer Janie Taylor.![]()
Tiler Peck, getting her hair done before the show![]()
And yes, even male dancers have to put on makeup. Meet Amar Ramasar (below), the principal dancer who was blasting Jason Derulo's "Talk Dirty" while getting ready.
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All those cans of hairspray get put to good use, holding every strand of hair in place while the dancers spin, jump, and pas de bourrée across the stage.
![]()
Each dancer has a different method for prepping his or her shoes; for Peck, it starts with banging them against the wall.![]()
Andrew Veyette works to cover his third tattoo, which he got during the last NYCB Japan t
Peck, who collaborated with Stevens for "Year of the Rabbit" back in 2012, once again brings Stevens onboard for his latest piece, "Everywhere We Go," with a new orchestral composition commissioned by NYCB. The result is a vibrant, kaleidoscopic work set to an ever-changing nine-movement orchestral score. (Such effects are only enhanced by the graphic-striped costumes designed by former NYCB principal dancer, Janie Taylor).
We snuck backstage before their latest performance on May 30 to see what goes on behind the scenes and on the stage. As expected, there were boxes and boxes of bobby pins, rows of hairspray, and stacks of makeup everywhere. And the performance? Well, let's just say it made us want to put on our ballet shoes and prance about once more.
"Everywhere We Go" will only be performed two more times this season, on Saturday May 31 at 2 PM and 8 PM. Tickets are still available at New York City Ballet. It will return for NYCB's fall season.
During intermission, the dancers from Sufjan Stevens and Justin Peck's collaboration, "Everywhere We Go," warm up and tie on their pointe shoes, sewing the straps together to keep them secure. Photos by Jessica Chou
The inspiration board for the makeup and hair department, led by Suzy Alvarez and Karla Elie. Most dancers do their own makeup, but certain roles require the pros.
The dressing room for principal dancers Tiler Peck and Teresa Reichlen
Teresa Reichlen finishing up her eye makeup
Dancers usually go through one pair of shoes per show. Used shoes are oftentimes signed and given to fans.
The hair for "Everywhere We Go" is unusual for classical ballet: A pouf up front and a bun in the back. Rumor has it, it's the signature hairdo for "Everywhere We Go" costume designer Janie Taylor.
Tiler Peck, getting her hair done before the show
And yes, even male dancers have to put on makeup. Meet Amar Ramasar (below), the principal dancer who was blasting Jason Derulo's "Talk Dirty" while getting ready.
All those cans of hairspray get put to good use, holding every strand of hair in place while the dancers spin, jump, and pas de bourrée across the stage.
Each dancer has a different method for prepping his or her shoes; for Peck, it starts with banging them against the wall.
Andrew Veyette works to cover his third tattoo, which he got during the last NYCB Japan t