Repertoire ranged from expected classics, such as the Act II pas de deux from “Giselle,’’ a teaser for the company’s next big production, to a brand new work choreographed and performed by two of the company’s newly promoted principal dancers. Melissa Hough and James Whiteside gave a superb performance of their “Zero Hour,’’ an agitated, modernistic duet juxtaposing sharp angles and long lines with undulating curves that ripple through the body. The work reflects Boston Ballet’s admirable mission to foster new choreography as well as create new opportunities for its dancers.

Another first act highlight introduced three of Boston Ballet’s newest members representing the company’s next generation. Former BBII dancer Jeffrey Cirio, Whitney Jensen, and Isaac Akiba (the first Citydance graduate to join the company) sailed through brilliant leaps and turns in excerpts from Drigo’s virtuosic showpiece “Harlequinade.’’ Performing with pizzazz, technical polish, and charming joie de vivre, they are definitely three to watch.

On the economy » "This past year was a difficult year around the world. It was inspiring the way our dancers, crew, orchestra, staff and administrators were all willing to make concessions. Our new board chair, Peter Meldrum, has assembled a strategic planning committee ... to create a five-year operating model that will allow us to grow and build artistically in a way that we can sustain financially. This is especially important right now as we explore new ways of moving forward during this challenging economic time."

On the company » "The company is strong from top to bottom, with a group of talented youngsters coming up from Ballet West II. I try to encourage and promote from within, while welcoming the best dancers from around the world at the same time; I think both are important. We are fortunate to have guest principal dancer Sarah Webb from Houston Ballet again to open the season, and through the gala. We have four principals (Christopher Ruud, Christiana Bennett, Romi Beppu, Michael Bearden), five soloists, four demi-soloists and 32 corps de ballet members."

Whatever effect his mother’s death had on MacMillan’s psyche – and Parry suggests it was the root cause of a troubled sexuality, not to mention his constant return to the theme of betrayal – it drove him to dance. He was quickly recruited in 1945 by the Royal Ballet’s founder Ninette de Valois. By 1952 he had become a choreographer – and found his métier.

Parry meticulously records the process of creation of each of his ballets and brings them to vivid life. Some were immediate successes; some were popular in their day and have vanished without trace; some took time to find favour; some were outright flops. What is shocking is the critical vitriol with which they were often greeted; what is fascinating is the complicated politics of the companies where MacMillan worked, particularly the Royal Ballet. Parry rehearses again the famous story of the premiere of Romeo and Juliet when his chosen stars Lynn Seymour and Christopher Gable lost out to the box-office appeal of Fonteyn and Nureyev.

His first professional dancing job at 18 was as Prince Charming in a Disney on Parade ice show. He hated it and went back to his mother’s studio and to his first love, classical ballet. By that time, his mother’s star pupil was a girl called Lisa Niemi, also a classical dancer, and Swayze fell passionately in love.

He was invited by dance director Eliot Feld to join a classical group, the American Ballet Players, later rechristened the Eliot Feld Ballet, as principal dancer and performed many of the great classical roles in New York, the company’s home city.

With long limbs, a streamlined torso and a sharp, light ability to angle her joints, Ivan is admirably suited for classicism a la Balanchine. For the second "Divertimento" she seemed a little withdrawn.

Violeta Angelova, looking quite young and with a facial resemblance to New York City Ballet's Wendy Whelan, gave her first performance bursts of spontaneity that were like sunshine suddenly breaking through clouds. Yet there were also the clouds when she seemed to be thinking much and didn't appear confident. Angelova's second performance was surer but I missed those bursts. Kendra Mitchell, short and pert, has speed and at the second performance she sparkled in the solo and gave her supported adagio much dignity. The tall Lauren Stewart looked awkward the first evening but by the second had gained considerable control, smiling more - which brought out a likeness to the young Marnee Morris of yore.

As the Obama administration tries to rebuild America's image abroad, do we need to send dance companies and theater companies abroad?

My response, not popular with my peers running arts organizations across the United States, is no.

Marketing only works (and cultural diplomacy is marketing) when it is frequently repeated. And it is simply too expensive to send orchestras and dance companies and theater groups to the same territory over and over again. And are we really influencing the citizens of a nation when we send performing groups to entertain the elite? Don't the elite come to the U.S. anyway? (And frankly, many people in foreign countries feel they get enough American culture via television, movies and popular music.)

Philippa Kiraly: “Did you know the play? How does Maillot’s ballet differ?”

CK: “In the play, she’s a young 14-year-old and Romeo is stronger. In this, she has both female and male roles in her. She’s equal to him in terms of strength. It’s kind of fun to be the one who makes the decisions! That’s the difference. It’s all there in the choreography.”

PK: “Is it a challenging role to dance?”

CK: “I think it’s hard because of the intensity of the story. The coordination is more difficult than the steps themselves, which are fairly standard. Jean-Christophe choreographed it as a conversation, and every little thing you do is saying something. There are so many steps, so much information, you can’t grasp it all at first. Last year, I was so close, and then set back by injury, but I remember every detail I was taught then, all the choices made. It’s been cooking ever since. I’m glad I’m comfortable in that space now. I feel like I’m so ready for it.