“Justin Peck has been a member of New York City Ballet since 2007. He is one of the 50 dancers in the worst rank of the Company, known collectively as the Corps de Ballet.”
So begins Ballet 422. But this fact is quickly lost in the work that happens as Justin Peck choreographs, teaches, and fine tunes the New York City Ballet’s 422 piece, “Paz de La Jolla.” While the film centers itself within Justin and his journey, I was struck by the collaboration behind the scenes: the Ballet itself is about everyone and everything that go into realizing Justin’s vision. And it is hard work. The film highlights all of the revolving pieces, all the time, all the input required from hundreds of people.
As a leader, Justin defaults to the experts, delegating creative control with phrases like “whatever you think is best.” He focuses on the dance itself, even inviting feedback from the dancers, i.e. what will work for their bodies vs. his expectations. There was an understanding that these suggestions made his work better.
There was no drama, at least nothing blatant. It was almost as if there wasn’t time for it. Justin’s obsessive like correction over a dancer’s arms were met with, “it’s just not in my body yet,” instead of an obvious display of frustration that she must have felt. A hint that Justin “pep talk” the orchestra got a “that’s a good idea;” it was later met with an awkward exchange between the conductor and Justin that hinted at tension that was never displayed.
All in all, Ballet 422 shows that for creatives, the work and the production of the work do not lie within a singular person, despite the narrative that’s often displayed. It takes a team of deeply devoted people, all dedicated to the realization of the art.
