Theater

Meet Justin Peck, the young choreographer of ‘Ballet 422’

At first glance, you’d be forgiven for thinking New York City Ballet member Justin Peck is just an up-and-comer in the chorus; soft-spoken and hipstery-looking, the dancer seems too young to be anybody’s boss. But the 26-year-old San Diego native is just that — he’s a rising star in the choreography world — and the Tribeca Film Festival documentary “Ballet 422” captures him in the process of creating an original ballet for the company (its 422nd, hence the title) while simultaneously rehearsing as a dancer in another NYCB performance.

Teresa Reichlen and Justin Peck in “Concerto Barocco.”Paul Kolnik

We spoke to Peck about the seemingly impossible feat of doing those two things at once, how he remains so strangely calm, and what ballet dancers do to cut loose.

The Post: The documentary focuses almost exclusively on your work as a choreographer, yet we find out that you were in rehearsal for another ballet during the same time period. How was that humanly possible?

Peck: It was more than full-time at that point — it was literally 10 hours a day of just working on my ballet, and then simultaneously rehearsing as a dancer for the other ballet. To be honest, I was a little bit worried about whether I was going to be able to make it through, physically. It ended up working out nicely, though; I felt nicely energized being a part of the choreography as a dancer.

Q: Being a dancer yourself, rather than in a position where you’re more removed — how does that affect the way you work with your dancers?

A: I think it helps on a couple of levels. Being side by side with other dancers is a unique way of viewing them, and I’m able to get more of an honest perspective. I’ve danced with a lot of the dancers over a number of years. I’ve gotten to know a lot of them very closely, both their strengths and their weaknesses, so I think I know how to harness their strengths and challenge them and push them further.

Q: One of the things that struck me watching this was how amazingly calm you remain, at moments when a lot of people might be yelling or pulling their hair out. Is it just not in your nature, or did you manage to have all your freakouts off-camera?

A: I mean, it’s not something I’m really conscious of. It was really weird for me — I saw the film for the first time last night — to observe myself working. I have to come up with so much, to orchestrate and create — I reach my capacity, and I have to focus on all these various things, so it’s almost like I don’t have a chance to freak out!

Q: You have a conversation, in the film, where you push back against the idea of color and fashion uniformity onstage. Do you feel like you’re going against the grain of an older ballet code, and is there resistance to that?

Peck in rehearsal for his work-in-progress with New York City Ballet principal dancers Sterling Hytlin, Tiler Peck and Amar Ramasar.Jody Lee Lipes

A: It’s a classically based art form, so there’s a certain set of rules that are usually applied. And it’s my challenge to see, how can I respect that while at the same time seeing how far I can push it forward.

Q: Do you ever get a chance to just kick back like a normal 26-year-old?

A: When I’m in that [choreography] mindset, I get into a monk-like way of living, where it’s very simple and I’m just focused on the creative output. I do like to go out, though! Last night we went to a great new Chinese restaurant called RedFarm, and had some beers and just hung out for a little bit. Every now and then, I get to do that.

“Ballet 422” will play at the Tribeca Film Festival: 7 p.m. Tuesday at the AMC Loews Village; 6:30 p.m. Wednesday at the Bow Tie Cinemas Chelsea; and 11:30 a.m. Sunday at the AMC Loews Village. Tickets are available at tribecafilm.com.