A review of New York City Ballet by Brian Seibert in The New York Times.
Or, rather, “Watch this again,” since Mr. Peck has clearly learned from Balanchine. As in Mr. Peck’s 2012 breakout piece, “Year of the Rabbit,” the configurations of “Everywhere We Go” show him to be one of the most imaginative dance makers of our time. Karl Jensen’s set, with shifting cutouts, offers a nice analogue to Mr. Peck’s kaleidoscopic patterns, but the choreography is the show — with shapes coalescing and dissolving, disappearing and returning, sometimes sneaking in from the wings. Almost every end is a beginning.