The success of the ballet led to Peck's appointment as resident choreographer of NYCB, as the second person to hold the position.
[4] Peck and Stevens' attempted to have a conceptual conversation about the score would be,[3] though they ultimately decided to start working on the ballet without a concept.
[5] Stevens said, "A lot of the music is developed from repetition and rhythmic variation and counting—not just time signatures, but an emphasis on dynamics and accents.
"[5] Stevens called his experience on this ballet as "kind of power pop and really, really dynamic and celebratory and unabashedly fun.
[10] The women are dressed in striped leotards, while the men are in black and grey attires, both with a red band at the waist.
The title suggests a sense of shared community, which also appears in how the dancers interact"[1] For The Oxford Handbook of Contemporary Ballet, Mindy Aloff wrote, "Everywhere We Go is built on images of community, tribes, and group ritual, but it is cast with an attention to hierarchy," for its division between the principal dancers and the corps.
Aloff noted one of the principal woman, often performed by a taller dancer, never partners with others and "serves as a kind of muse or guiding ideal.
The same weird chord progressions that cast a theme of doomed hopefulness over Stevens' work, from his quiet folk songs to his grander, louder pieces, was present here.
Just when things start to get dark in a Sufjan Stevens song, he’ll throw in a wink of humor to add some levity, in the form of an unusual sound or beat."
"[6] The principal dancers in the original cast were:[1] Everywhere We Go premiered on May 8, 2014, at the David H. Koch Theater,[1] during the company's spring gala, conducted by Michael P.
[15] New York Times dance critic Alastair Macaulay commented, "a work both diffuse and brilliant whose rich supply of configurations, phrases and rhythms often (if not always) suggests that young Mr. Peck can do anything he wants with choreography: a virtuoso of the form.
"[14] For DanceTabs, Marina Harss wrote, "Like Paz de la Jolla and Year of the Rabbit before it, Everwhere We Go is ingenious, imaginative, fast-paced, complex, densely packed.