Small-boned but not fragile, with the feet, the epaulement, and crisp musicality of a budding soloist, Huang has a lively stage presence—and, of course, she has the turns. For the school showcase’s opening demonstration, Huang supplied the final fouettés: singles alternating with copious triples, all executed with calm shoulders and an unshakeable plumb-line, barely travelling. Given her abilities, the school faculty seemed to exercise commendable restraint otherwise in her casting. Following the demonstration, Huang danced the main “Russian girl” role in the first half of the first movement of “Serenade,” with a forward energy that promised a strong future in the Balanchine rep. (Her only weak spot was a dead-stopped arabesque, a touch too preening, for her final exit.) 

In the showcase closer, excerpts from “Paquita,” Huang was relegated to one of the six demi-soloists. This gave the compact-yet-powerful Nicole Kosasih Widjaja a chance to shine, and she seized it, bourréeing in front of that phalanx of backup ballerinas in high style, arms flung to the air with that snap of strong character this role demands. Since Tamara Rojo took the helm as SF Ballet artistic director four years ago, the former National Ballet of Cuba dancer Loipa Araujo has become the company’s primary coach, and how lucky we audiences are to have her working with the next generation of dancers for this staging. In addition to Widjaja’s fearless spirit, Luna Mae Pao stood out for her delicate-yet-dignified quality. Donghui Kim was a terrific partner to Widjaja, and he has beautifully harmonious proportions, sparkling clean double assemblés, and impressive height on his turning grand jetés.