New York Times, 2015 Spring Season Write-Up
"it does suggest that in Mr. Peck, as in Alexei Ratmansky, the world now has two choreographers who aren’t infantilized by the ethical force of Balanchine’s decrees."
New York Times, 2015 review of Heatscape
"No ballet by the 27-year-old choreographer Justin Peck is much like another; with each assignment he sets himself new choreographic hurdles. But Mr. Peck has quickly become the most eminent choreographer of ballet in the United States — and two particular characteristics have propelled him to the top: the exciting formal architecture of his dances and the kinesthetic thrill of his movement."
New York Times, 2014 review "Everywhere We Go"
"“Everywhere We Go,” a work both diffuse and brilliant whose rich supply of configurations, phrases and rhythms often (if not always) suggests that young Mr. Peck can do anything he wants with choreography: a virtuoso of the form.
Huffington Post, 2014 "Everywhere We Go"
"Justin Peck and Sufjan Stevens Will Convince You That Ballet Can Be Hip..."
Washinton Post, 2014 profile
"CHOREOGRAPHER JUSTIN PECK'S UNPRECEDENTED SUCCESS WITH NEW YORK CITY BALLET…"
New York Times, 2013 review "Year of the Rabbit"
"It must be said on this evidence that he is the third important choreographer to have emerged in classical ballet this century, following Christopher Wheeldon and Mr. Ratmansky."
New York Times, February 2013 review "Paz De La Jolla"
"After the triumph of his “Year of the Rabbit” in October, expectations soared like a kite on an updraft. On Thursday Mr. Peck did not disappoint. He’s still flying."
New York Times, October 2012 review "Year of the Rabbit"
"The impression is of an overflow of formal ideas: the cataract after Pegasus kicked open Mount Helicon. The plenitude is delightful rather than oppressive, because of the freshness and because of Mr. Peck’s precocious command of structure. To be offered so many wonders in succession is heady, but it is Mr. Peck’s brilliant transitions that make the mind want to keep up and help it do so."
New York Magazine, September 2012 "Year of the Rabbit"
"Sufjan Stevens' Ballet Lessons / How Justin Peck's New Piece for NYCB Got its Soundtrack"
New York Times Feature, July 2012
New York Times, July 2012 "In Creases"
"This is choreography whose forms immediately seize attention. There’s no moment, as so often occurs with young ballet choreographers, when we spot Mr. Peck’s sources. Doubtless he’s steeped in Balanchine, Robbins and others, but he isn’t wearing them on his sleeve. His ensemble keeps giving way to brief but quasi-climactic images to individuals. The way lone dramas or dances keep being absorbed by the group is what gives the dance its particular flavor. Gestures, images, sequences leap out and pass as if in a dream or in a changing cloud....The ballet passes so smoothly that it’s difficult to remember after a first viewing just how these and other scenes all fit together. There’s no doubt that Mr. Peck is an accomplished planner of poetic structure, but only at a few moments did real steps, phrasing and dance impetus get under my skin. The impression “In Creases” leaves, though, is of a dreamscape that heightens the progress and colors of its score. And its sureness of construction is striking."
Dance Magazine, April 2011: "Taking Off"
"Justin Peck is blessed with a geometric mind: He can conjure formations that shift and click into place with kaleidoscopic logic..."
The Last Magazine, February 2011
"'Tales of a Chinese Zodiac,' set to three short sections from Sufjan Stevens’ propulsive thirteen-piece Run Rabbit Run cycle, was intricate and complex, the dancers covering the stage in an ever-changing series of formations that altered course often but felt entirely of a piece..."
New York Times, November 2010: "Tales of a Chinese Zodiac"
me, however, the main event was “Tales of a Chinese Zodiac,” the offering by
the least-known choreographer, Justin Peck…he not only ticks all the boxes
mentioned by [Peter] Martins — musical responsiveness, use of the ballet
vocabulary, a striking sense of spatial architecture — he also shows, in this
work, much more. Among the features I noted were his sense of idiomatic
gesture; the fluidity with which the groupings of his dance kept changing; the
subtle sense of dramatic poetry that created situations, meanings, forms,
worlds, claiming the audience’s attention and feelings without spelling out any
immediate interpretation; and his connection with the tradition of older
choreographic masterworks...what’s fascinating about Mr. Peck’s 'Chinese Zodiac'is
that he no sooner quotes some memorable formations than he
makes striking departures from them...”