Justin Peck on Hurry Up, We’re Dreaming

Justin Peck, inspired by the light of San Francisco, crafted an ever-changing dreamscape in Hurry Up We’re Dreaming, set to music of the electronic group M83. Here he discusses creating this ballet for the 2018 Unbound festival of New Works. 

 

ABOUT JUSTIN PECK

Justin Peck (© Ryan Pfluger)

Choreographer 

Justin Peck is Resident Choreographer and a Soloist Dancer with New York City Ballet (NYCB). Peck joined NYCB in 2006 and was promoted to Soloist in 2013. He began choreographing in 2009 at the New York Choreographic Institute. In 2014, after the creation of Everywhere We Go, Peck was appointed Resident Choreographer of NYCB. He has created more than 30 ballets, which have been performed by Paris Opera Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, LA Dance Project, Dutch National Ballet, The Joffrey Ballet, Houston Ballet, and Pennsylvania Ballet. In 2014, Peck was the subject of the documentary Ballet 422, which followed him as he created Paz de la Jolla, NYCB’s 422nd original dance. Peck choreographed the 2018 Broadway revival of Carousel, for which he was awarded the 2018 Tony Award for Best Choreography.  In addition, Peck choreographed the feature film Red Sparrow, and will be creating new choreography for the upcoming film remake of West Side Story, directed by Steven Spielberg. His Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production in 2015. Hurry Up, We’re Dreaming from the 2018 Unbound festival was Peck’s second work created for SF Ballet; his first was In the Countenance of Kings.

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Your Ultimate Guide to Kaleidoscope

What is it? Three distinct takes on the classical idiom to three musical masterpieces.

Who’s it for? Anyone who loves going to the symphony, seeing elite athletes compete, or watching romantic movies.

DIVERTIMENTO NO. 15

Sasha De Sola and Hansuke Yamamoto in Balanchine’s Divertimento #15. Choreography by George Balanchine © The Balanchine Trust // © Erik Tomasson

What am I seeing? Divertimento No. 15 may be a pretty tutu ballet, but it’s anything but stuffy. This sparkling masterpiece—choreographed in 1956 by 20th-century genius George Balanchine—features five principal women, three principal men, and a corps de ballet of eight. Keenly attuned to its music, this ballet showcases its dancers, highlighting their technique, musicality, and the pure joy of dance.

What am I hearing? Wolfgang Amadeus Mozart’s Divertimento No. 15, composed in 1777, plus a cadenza by John Coleman, added in the 1960s. Balanchine considered this piece the finest divertimento Mozart ever wrote, and this 1956 version was his second attempt to choreograph to this music.

What should I look for? Note the solos for the principal women and one principal man—Balanchine made this ballet for some of his favorite dancers and each of these variations on a theme showcases something unique about their personalities and technique. Also note the numbers games he plays. Like Mozart’s music, which exemplifies the clarity, balance, and formality of classical style, this ballet moves its dancers in pairs and threes to create a sense of symmetry and proportion.

APPASSIONATA

San Francisco Ballet rehearsing Millepied’s Appassionata // © Erik Tomasson

What am I seeing? An intimate exploration of love and passion created by LA Dance Project director Benjamin Millepied. First created for the Paris Opera Ballet, where Millepied was director from 2014 to 2016, this ballet features three couples who fall in and out of love over the course of its 30 minutes.

What am I hearing? Ludwig von Beethoven’s Piano Sonata No. 23 in F minor, commonly known as the Appassionata. Fiendishly difficult to play, this sonata is explosive, volatile, and impassioned—a stark contrast to the sunny clarity of Mozart’s Divertimento.

What should I look for? The heart of this ballet is in the central pas de deux set to the andante. This romantic interlude interrupts the frenetic pace set in the opening allegro and transforms the emotional energy of the ballet.

HURRY UP, WE’RE DREAMING

Dores André and Joseph Walsh in Peck’s Hurry Up, We’re Dreaming // © Erik Tomasson

What am I seeing? Inspired in part by walking through San Francisco, Peck’s new ballet, Hurry Up, We’re Dreaming, crafts an evolving dreamscape to an album by electronic music group M83. Oh, and did we mention it’s danced in sneakers? Although a ballet choreographer—look for how his dancers move through classical shapes—Peck has been experimenting of late with choreographing not in pointe shoes, but in sneakers. It’s a choice that changes the dancers’ relationship to weight and the floor, grounding them in a way that seems freshly modern.

What am I hearing? Excerpts from Hurry Up, We’re Dreaming, an album by French electronic music project M83. Written when M83 creator Anthony Gonzalez moved to Los Angeles, this album was what Peck found himself listening to when he was visiting SF in 2015.

What should I look for? Look for the three duets and how they differ from one another. And for how soloists appear and disappear within the greater mass, suggesting not just a community, but a whole world of inspiration and dream.

To the Pointe: Kaleidoscope

Join SF Ballet’s Jennie Scholick, PhD to learn all about Program 2: Kaleidoscope. From George Balanchine’s classical Divertimento no. 15, to Benjamin Millepied’s romantic Appassionata, to Justin Peck’s contemporary Hurry Up, We’re Dreaming, this program has something for everyone.

Header Image: Dores André and Joseph Walsh in Peck’s Hurry Up, We’re Dreaming  // © Erik Tomasson

Your Ultimate Guide to Kaleidoscope

What is it? Three distinct takes on the classical idiom to three musical masterpieces.

Who’s it for? Anyone who loves going to the symphony, seeing elite athletes compete, or watching romantic movies.

DIVERTIMENTO NO. 15

Sasha De Sola and Hansuke Yamamoto in Balanchine’s Divertimento #15. Choreography by George Balanchine © The Balanchine Trust // © Erik Tomasson

What Am I Seeing? Divertimento No. 15 may be a pretty tutu ballet, but it’s anything but stuffy. This sparkling masterpiece—choreographed in 1956 by 20th-century genius George Balanchine—features five principal women, three principal men, and a corps de ballet of eight. Keenly attuned to its music, this ballet showcases its dancers, highlighting their technique, musicality, and the pure joy of dance.

What Am I Hearing? Wolfgang Amadeus Mozart’s Divertimento No. 15, composed in 1777, plus a cadenza by John Coleman, added in the 1960s. Balanchine considered this piece the finest divertimento Mozart ever wrote, and this 1956 version was his second attempt to choreograph to this music.

What Should I Look For? Note the solos for the principal women and one principal man—Balanchine made this ballet for some of his favorite dancers and each of these variations on a theme showcases something unique about their personalities and technique. Also note the numbers games he plays. Like Mozart’s music, which exemplifies the clarity, balance, and formality of classical style, this ballet moves its dancers in pairs and threes to create a sense of symmetry and proportion.

APPASSIONATA

San Francisco Ballet rehearsing Millepied’s Appassionata // © Erik Tomasson

What Am I Seeing? An intimate exploration of love and passion created by LA Dance Project director Benjamin Millepied. First created for the Paris Opera Ballet, where Millepied was director from 2014 to 2016, this ballet features three couples who fall in and out of love over the course of its 30 minutes.

What Am I Hearing? Ludwig von Beethoven’s Piano Sonata No. 23 in F minor, commonly known as the Appassionata. Fiendishly difficult to play, this sonata is explosive, volatile, and impassioned—a stark contrast to the sunny clarity of Mozart’s Divertimento.

What Should I Look For? The heart of this ballet is in the central pas de deux set to the andante. This romantic interlude interrupts the frenetic pace set in the opening allegro and transforms the emotional energy of the ballet.

ANIMA ANIMUS

San Francisco Ballet in Dawson’s Anima Animus // © Erik Tomasson

What Am I Seeing? An example of physically emotional virtuosity by UK dancemaker David Dawson. Anima Animus is ballet pushed to every extreme; technique stretched to its outer limit. Playing with the idea of opposites—man-woman; black-white; lifted-grounded—this work nods to ballet’s past while pointing toward its future.

What am I hearing? Ezio Bosso’s Violin Concerto No. 1 “Esoconcerto.” Bosso’s score creates a sense of driving motion matched by the dancing.

What should I look for? The second movement and its virtuosic play between the two principal women and the four men. For the way that Dawson manipulates ballet technique: rarely is a dancer truly upright—everything is leaning, at an angle, off-balance. And for the wing-like gestures the dancers make with their arms, evoking flight.

David Dawson on Creating Anima Animus

David Dawson’s Anima Animus is ballet pushed to the extreme; technique stretched to its outer limit. Created for the Unbound festival, this ballet returns as part of Kaleidoscope, Feb 12–23, 2019.  Choreographer David Dawson talks about his creative process and the making of Anima Animus.

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Header photo: David Dawson rehearsing Anima Animus // © Erik Tomasson