- I'm Sterling Hyltin,
and here I am dancing
in the second movement
of Justin Peck's "Everywhere We Go."
[trilling orchestral music]
The music was composed by Sufjan Stevens,
and this particular movement,
it is called "Happiness is a Perfume."
So a lot of the movements I'm doing here
with my partner Andrew Veyette,
I like to think that I'm very light,
as light as a scent of perfume,
preferably a not-too-sweet one,
I suppose.
[upbeat orchestral music]
"Everywhere We Go"
has nine movements in total,
and I remember when this ballet
was being choreographed,
we worked on each movement separately,
and I remember the very first day
that we all were able to be
in one room together
and see all the movements
that everybody had been working on.
That is a moment I will never forget
for the rest of my life,
and it was just incredibly exciting
because each movement
was as delightful as the next.
[uplifting orchestral music]
This reentrance is probably
my favorite moment of the ballet
and especially of this movement.
The music really touches me,
and I'm about to just go flying.
The lift coming up right here,
he pulls me with so much force
and then catches me,
and for a moment,
I completely feel weightless.
It's just–it's a wonderful feeling.
[dramatic orchestral music]
[laughing]
Andy does a lot of hard work here.
When we stop and look at the wings,
it's our rest moment
before it sort of all turns up again,
and I always say hello to Tiler Peck.
Or we–I don't say hello.
We smile at each other
because she's about to enter
for the third movement.
[playful orchestral music]
For a lot of these lifts and tricky
partnering moves in this movement,
Andy and I worked with Justin
to create all of it.
Sometimes it was very clear.
He says, "I want this."
And sometimes it's something
we had to work on together,
so it was very much hands on,
and it really helps that Justin Peck
himself is a wonderful partner.
It helped mold the movement, how it is,
and sort of create these
really exciting jumps and lifts.
[lively orchestral music]
In this moment, I always look up,
and I basically am saying hello
to the lighting guys up there...
[laughs]
The follow spots.
[sweeping orchestral music]
At the end of this movement,
it almost doesn't have a definite ending
and it transitions really seamlessly
into the third movement of this ballet.
