Tiler Peck, a legendary prima ballerina and principal dancer with the New York City Ballet, celebrates her 20th season, a milestone that reflects a journey of resilience, creativity, and grace. From overcoming career-threatening injuries to debuting her first choreographic work for NYCB’s 75th anniversary, Tiler’s path has been transformative both on and off the stage.
Schön! chats with the ballerina about her transformation as a dancer, her upcoming work, and more.
Firstly, congratulations on your 20th season with NYCB! Reflecting on these years, what moments stand out as transformative in shaping you both as a dancer and a person?
The moments that stand out to me are definitely milestones like getting my apprenticeship with the company at just 15 years old. It was a huge surprise — I didn’t think I’d get it so young. Another transformative moment came shortly after, when our former director choreographed a ballet where I was the lead at 16. That gave me a confidence boost and hinted that maybe I had a promising trajectory.
A major turning point for me was recovering from a serious neck injury in 2019. The process taught me so much about myself — how to rebuild and grow as an artist. That vulnerability transformed the way I danced when I returned. For instance, performing Swan Lake post-injury was a completely different experience compared to my debut. I realized how much our personal journeys translate into our artistry and what the audience sees on stage.
How long did the recovery process take, and what impact did it have on you emotionally and professionally?
I was out for nine months, six months of recovery and three months of gradually getting back into shape. It was a major challenge because I was told I’d never dance again. That was devastating. I remember telling my mom that I understood I couldn’t dance forever, but I wanted to decide when to stop and not have someone else decide for me. That moment was pivotal and shaped my resolve to come back stronger.
Your first choreographic work for NYCB, Concerto for Two Pianos, recently premiered to high acclaim. What inspired this piece, and how did it feel to debut it during NYCB’s 75th anniversary season?
When creating the ballet, I wanted to pay tribute to the company’s classical roots, especially for such a significant milestone like the 75th anniversary. I grew up doing various dance styles, but for this, I felt strongly about using my deep knowledge of classical vocabulary. I wanted to challenge and inspire the dancers, highlighting their strengths and showcasing what makes the New York City Ballet so special.
The music was a huge source of inspiration. I chose a piece that I could listen to without seeing the dance, and then created steps that visually matched what I was hearing. Watching the company perform the piece was so fulfilling; it truly represented the artistry and excellence of NYCB.
How do you approach both physical and mental self-care to keep up with the demands of being a prima ballerina and choreographer?
Our schedule is incredibly gruelling, but I think the balance I had growing up prepared me for it. My parents made sure I had a somewhat normal childhood, attending regular school while training intensely in dance. That sense of balance has carried into my career. I also pursue other passions, like writing books, acting, and creating dancewear lines, which keep me fulfilled and grounded. When challenges arise, like injuries, I lean into those other aspects of myself, giving me a sense of purpose beyond ballet.
How do you work with music to shape each performance, and what role does it play in your creative process as a choreographer?
Music has always been deeply ingrained in me. Even as a child, I could remember long pieces and dance with feelings far beyond my years. I don’t consciously think about being “musical”; it’s more like a conversation with the music, it tells me what to do. That collaboration keeps every performance fresh and exciting.
Having choreographed for major productions like John Wick 3, what challenges or joys come with creating dance in settings outside the traditional ballet world?
Film and TV choreography differ significantly from live stage work. For example, in film, you can retake a scene, whereas on stage, you have one chance to get it right. Additionally, film choreography often focuses on close-up movements, while stage choreography considers formations and how things look from a distance. Both are unique and rewarding in their own ways.
The NYCB Fall Fashion Gala has become an iconic fusion of dance and style. How has fashion influenced your career, and are there any favourite collaborations from this event?
One of my favourite collaborations was with Valentino. Becoming close friends with someone at the top of their craft was inspiring. Watching their designs come to life on a dancer’s body, adding movement to their craftsmanship, takes the art to another level. I’ve also worked closely with Zac Posen, Wes Gordon, and Jill Mandel. These partnerships have been incredibly enriching, merging the worlds of fashion and dance in beautiful ways.
What has been the most surprising or fulfilling crossover experience in your career?
Directing and performing in Tiler Peck & Friends is a career highlight. Bringing together my favourite dancers and curating an evening of dance was deeply fulfilling. We started at City Center in New York, toured to Sadler’s Wells in London, and continue to perform it worldwide. It’s a special project that blends artistic direction with collaboration.
In today’s ballet world, which is moving toward inclusivity and new perspectives, what changes or progress do you feel are most impactful or necessary?
I think communication is key. Dancers have traditionally been hesitant to use their voices, relying solely on their bodies for expression. But we’re in an era where it’s more acceptable to speak up, ask questions, and advocate for ourselves. That’s an important shift.
Looking forward to the future, do you have any personal or professional dreams yet to be realized, or a new direction you’d like to explore as you step into this next chapter?
I’ve been filming a TV series, which has been an exciting new venture. I’m hopeful that it will open more opportunities in this direction. It’s always thrilling to explore new creative paths.
photography. Andrea Fremiotti
talent. Tiler Peck
hair. William Schaedler
make up. Mariko Arai
interview. Alper Kurtel
