In Creases by three-time Tony Award®-winner Justin Peck, one of the most in-demand choreographers of this generation, returns to captivate Atlanta audiences as part of the Balanchine & Peck mixed repertory program. Accompanied by a live performance of Four Movements for Two Pianos by Philip Glass, In Creases showcases shifting shapes and formations as dancers manipulate their bodies into complex architectural structures and patterns. Originally premiered in 2012 at the New York City Ballet, In Creases was last performed by Atlanta Ballet in 2022. Excitement for the ballet’s return to the Atlanta stage is palpable, and Atlanta Ballet had the pleasure of asking Justin Peck about his work.

Atlanta Ballet: In Creases was the first work you created for New York City Ballet. How special is it for you, and what excites you about its return to the Atlanta stage?

Justin Peck: I have to say, In Creases holds a really special place in my heart. It was the very first piece I made for New York City Ballet, and in many ways, it was the piece that unleashed my choreographic voice. So every time it’s brought to the stage again—especially somewhere like Atlanta—it feels like I get to revisit that moment of discovery. There’s a rawness and honesty to the work, a clarity and a precision, a leanness and a brightness to it. And yet all at once, it feels like a canvas for the dancers to paint in their own ways. I’m always excited to see how new dancers bring their own energy and perspective to it. It evolves with every cast.

Atlanta Ballet: You have a keen eye for design and manipulating dancer bodies to form structures and patterns. Can you describe the movement and choreographic precision of In Creases?

Justin Peck: With In Creases, I was really interested in the idea of geometry in motion: how dancers can become both individuals and part of a larger architectural form. The movement is very detailed and rhythmic. It’s tightly woven, so timing and spatial awareness are critical. There’s a kind of interdependence in the choreography—if one dancer is off by even a beat, it can throw off the whole structure. But within that precision, there’s room for musicality, for breath, for connection. That contrast is where the piece comes alive.

Atlanta Ballet: Is the title of the ballet a play on words?

Justin Peck: The title In Creases definitely plays on multiple meanings. There’s the literal idea of a crease—like a fold in fabric or paper—which speaks to the shaping and folding of the dancers’ bodies. But there’s also “increases,” as in momentum building or energy rising. Both concepts are embedded in the piece. There’s a kind of cumulative force in how the movement builds across the sections. So the title invites the audience to think about the form and the function of what they are watching.

Atlanta Ballet: The score from Philip Glass commences with an energetic force. How does the movement match this and what is required of the dancers?

Justin Peck: Philip Glass's music has this pulsing, propulsive quality—it drives forward with such clarity and energy. So I wanted the choreography to mirror that sense of urgency and momentum. The dancers are asked to be incredibly in tune with the music—both rhythmically and emotionally. It’s not just about matching counts; it’s about understanding the flow and intention of the score. There's no room to hide. It demands athleticism, focus, strong reflexes, and a deep musicality.

In Creases unfolded at Atlanta Ballet's season opener, Balanchine & Peck, September 12-14, 2025.

Choreographer Justin Peck. Photo by Ryan Pfluger.
Atlanta Ballet dancers rehearsing In Creases. Photos by Amber Times.