The performance was packed with company and audience favourites, with nineteen excerpts split over three acts. The repertoire certainly delivered: it featured an excerpt from “Études,” pas de deux from Ben Stevenson’s “Cinderella,” “Swan Lake,” and “Don Quixote,” Jack Lister’s “Still Like,” the balcony scene from Kenneth MacMillan’s “Romeo and Juliet,” the Character Rag from Frederick Ashton’s “Elite Syncopations,” among others. 

The gala highlighted the scope of talent that Cunxin has brought to the Brisbane stage. And with it, Cunxin offered one final challenge to his dancers—many were given the opportunity to dance roles they may not have been cast in before; for instance, Libby-Rose Niederer danced the brief but title role of the White Lady in “Études.” Chiara Gonzales joined Alexander Idaszak in the technical but stunning “Three Preludes.” Georgia Swan and Vito Bernasconi held the limelight in “Ershter Vals” and “Still Life.” And Laura Tosar presented her take on Kitri with Patricio Revé in “Don Quixote.”