There are three solos interspersed across the program, with each presenting a unique style of movement. Bob Fosse’s 1978 “Percussion IV” is first, performed exactingly by Hubbart Street Dance artist Shota Miyoshi. In the relatively short piece, his crisp technique offsets more playful embellishments—like a jazzy shimmy—to delicious effect.

New York City Ballet soloist Victor Abreu takes on José Limón’s 1961 “Sonata for Two Cellos,” a work that is demanding in its simplicity. For much of the solo’s first part, Abreu moves with his chin cast slightly down, shifting in different positions, but maintaining a contrapposto twist of the torso. At times, he has more opportunities to expand within the constraints of the choreography.

The standout of the program is “Show Pony,” a 2018 solo by Kyle Abraham performed by New York City Ballet principal Taylor Stanley. It’s a fluid, energetic work that brings together elements of ballet, voguing, and modern dance. On Stanley, the choreography looks so natural it’s as if the dance was made just for them. Wiggling through the piece’s undulations, the dancer is entirely self-possessed, with both grace and attitude to spare. If we get to see Stanley take on more choreography like this after they retire from New York City Ballet next season, we will be very lucky indeed.

Closing the show is the biggest piece, “Rising,” and one by the program’s most nascent choreographer, American Ballet Theatre corps member Aleisha Walker. It’s vibrant ensemble piece, featuring Walker herself and fellow ABT corps dancer Madison Brown, alongside Dance Theatre of Harlem artists Ariana Dickerson, Carly Greene, and Delaney Washington. Energetically, the work seems to have a touch of Justin Peck’s influence; the dancers whip around in chaîne turns, slide across the stage en pointe, and piqué fouetté. All five bring their own stylistic flourishes, and all attack the petit allegro with gusto. It’s clear they’re having fun—and that makes them a joy to watch.