The evening opens with the costume-driven Raymonda (Divertissements), staged by Anna-Marie Holmes after Marius Petipa.
The "Grand Pas Hongrois" is notable for a catchy heel-click maneuver that everyone does. Gillian Murphy delicately dances the bourrées in her variation, and her dance also features a fetching pose with her head cocked, a hand to her head, arm akimbo.
After the first intermission comes Nacho Duato's Without Words from 1998.
Franz Schubert's music is played by piano and cello.
It's a ghostly, shadowy piece, with the cast in unitards that shade from golden to nude.
At several points a dancer holds her hands to her head as if to shut out a painful memory.
The evening closes with Within You Without You: A Tribute to George Harrison, with six songs set by four choreographers.
There's an overall Broadway flavor to the suite, which starts of with Angel Corella hitch-kicking and mega-pirouetting to "Something," by Stanton Welch.
Stella Abrera and Isaac Stappas spend a lot of time rolling erotically on the floor in Ann Reinking's "While My Guitar Gently Weeps," and I couldn't help wondering if they did because it needed sweeping.
Welch's "Isn't It a Pity" breaks out of the boy-and-girl mode: in the first section, soloists dance isolated from the rest of the cast who cross the stage in a workaday trudge; in a happy ending, everyone dances together.
To close the work, David Parsons has solved the puzzle of Harrison's (to speak plainly) monotonous "My Sweet Lord."
He brings in a scrim from one of the downstage pipes, so that the space is constrained to a narrow lane. The eighteen dancers cross the stage always from stage right to left in series of individualized moves that accumulate into a marvelous, joyful, stately procession towards God.