Everywhere We Go is a contemporary ballet choreographed by Justin Peck with a commissioned score by American singer‑songwriter Sufjan Stevens. The work was created for the New York City Ballet (NYCB) and premiered on May 8, 2014, at the David H. Koch Theater in Lincoln Center, New York City.
The ballet is plotless and structured in nine distinct sections, performed by a cast of 25 dancers. Its choreography is noted for large‑scale ensemble movements, intricate patterns, and the integration of a multi‑layered geometric backdrop that shifts throughout the performance. The score, composed by Stevens, was his first commission for NYCB and blends orchestral textures with indie‑pop sensibilities.
Production and Reception
- The piece was part of NYCB’s 2014 season and received attention for its fusion of classical ballet technique with contemporary musical aesthetics.
- Critics highlighted the work’s “epic” scope, the dynamic interplay between dancers and the evolving set design, and Peck’s choreography that references the legacy of George Balanchine while incorporating his own stylistic signatures.
- The ballet has been revived by NYCB in subsequent seasons and performed by other companies, including The Royal Ballet, where it was noted as the first Justin Peck work staged by the company.
Choreographic Features
- Utilizes a large ensemble with synchronized group sections and occasional solo moments.
- Incorporates unconventional movement vocabulary, including moments where dancers perform in sneakers.
- Emphasizes geometric patterns and spatial relationships, aligning with the shifting backdrop to create a visually cohesive experience.
Music
- Stevens’ score consists of original compositions that blend orchestral instrumentation with electronic and folk elements, reflecting his indie‑pop background while supporting the ballet’s rhythmic and emotional contours.
Legacy
- The collaboration marked the second joint project between Peck and Stevens, following the 2012 ballet Year of the Rabbit.
- Everywhere We Go is regarded as a significant work in early 21st‑century ballet, exemplifying the integration of contemporary music and modern choreographic approaches within a major classical company.