Review: Turn it Out with Tiler Peck & Friends, Sadler’s Wells

A New York City Ballet principal since 2009, Tiler Peck’s place in the dance world is firmly cemented. With Turn it Out, a showcase of four works, it’s clear why.

‘Barre Project’ is like a dance class on amphetamines, and the barre is a focal point for the majority of the piece, which comes in two halves. The dancers move into the centre of the stage but return to this fundamental, grounding element of the ballet world; in part, the work is a love letter to the graft that goes into the art. James Blake’s frantic electronic music is an unexpectedly perfect complement to Forsythe’s intricate choreography, performed in sharp perfection by the quartet (Lex Ishimoto, Brooklyn Mack, Roman Mejia and Peck). Each dancer is exemplary, but Peck gives a new meaning to fast feet. She moves with such speed and precision that it’s hard to do anything but gawp at her skill. The second segment of ‘Barre Project’, a projection of hands moving over the barre, is interesting but perhaps overextended; pre-recorded hand-ography can only have so much of an effect. But it’s not long before we return to the main event, Peck transitioning to softer movements before the ensemble regathers with force.

Onto the second item of the evening. In programme notes, Peck states that her piece ‘Thousandth Orange’ has no story; maybe this is why it’s difficult to hold on to anything from it. The dancers are undeniably talented, and there are a number of interesting things happening on the stage, flashes of interpretable narrative in the dancers’ interactions, but too many elements to focus on a single one. The eye sweeps across the stage, instantly distracted by something happening elsewhere. Towards the end, however, there is more harmony, something which regrounds the choreography and becomes more easily digestible. Perhaps this is the type of piece to be more appreciated through rewatches. 

There are moments of controlled uncontrolledness in ‘Swift Arrow’, our third piece, along with the incredible discipline and physical strength that threads through each item on the bill. The shortest of the set, the pas de deux has a lyrical beauty.

Turn it Out concludes with ‘Time Spell’, a triumphant, riotous finish that’s impossible not to smile at. There’s a real sense of collaboration between the three groups here: musicians, tap dancers and ballet dancers, working in tandem to blur boundaries between their disciplines. The highlight has to be the duet between Peck and Michelle Dorrance, which is just joyous. As the piece reaches its final peak, dancers traverse the stage from left to right, exhibiting showy duets and feats before gathering together for a roof-raising finish. It’s the perfect end to the night, and speaks to Peck’s curation abilities – yet another string to her bow.

Turn it Out is a celebration of dance, and the work, commitment and skill that goes into it. Peck’s passion for the art form rolls across the auditorium, and it’s difficult to walk out without an extra spring in your step.

Choreographers: Tiler Peck, William Forsythe, Alonzo King, Michelle Dorrance & Jillian Myers
Musicians: Joonas Pekonen, Tuulia Hero, Patrick Moriarty, Stephanie Tang, Joel Wernhardt, Aaron Marcellus Sanderes, & Brinae Ali
Lighting Designer: Brandon Stirling Baker
Production Manager: Nicole Mitchell Mommen
Production Stage Manager: Angelina Pellini
Sound Designer: Christopher Marc

Turn it Out has completed its run at Sadler’s Wells