Overview
Everywhere We Go is a plotless ballet choreographed by American choreographer Justin Peck with an original score composed by indie musician Sufjan Stevens. The work is structured in nine sections and is performed by a cast of twenty‑five dancers.
Creation and Collaboration
The ballet marks the second collaboration between Peck and Stevens, following their 2012 work Year of the Rabbit. After the earlier partnership, Stevens composed new music specifically for Everywhere We Go, while Peck developed choreography in close dialogue with the composer. The score was arranged by Michael P. Atkinson, and the two artists employed a “veto system” in which each could reject material they deemed unsuitable for the ballet.
Premiere
Everywhere We Go was created for the New York City Ballet (NYCB) and premiered on May 8 2014 at the David H. Koch Theater during NYCB’s spring gala.
Design Elements
- Costumes: Designed by former NYCB principal dancer Janie Taylor, the costumes feature striped leotards for women and black‑gray attire with red waistbands for men. Women wear dyed‑white pointe shoes, a choice noted for its increased hardness compared with traditional pink shoes.
- Set and Lighting: Architect and artist Karl Jensen designed the set, while lighting and visual elements were created to complement the geometric and shifting backdrops characteristic of the piece.
Choreographic Style
Peck’s choreography for Everywhere We Go emphasizes athleticism and technical precision, aligning with the rhythmic and dynamic qualities of Stevens’s music. The ballet’s abstract, plotless nature reflects Peck’s broader interest in non‑narrative works.
Reception and Impact
The ballet was well received by critics and audiences, contributing to Peck’s appointment as resident choreographer of NYCB—the second individual to hold that position. Its success has cemented the work as a notable example of contemporary ballet that bridges classical technique with modern musical collaboration.
Legacy
Everywhere We Go continues to be performed by NYCB and has been cited in scholarly discussions of 21st‑century ballet, particularly regarding cross‑disciplinary collaborations between choreographers and popular‑music composers.
