The first act of the ballet is especially strong, with engaging choreography for the corps, which fills the stage. A character number—which starts with the men flying in from stage left in a series of various whirling jumps—helps establish the Russian setting, especially when the men, in a line, jump from double retiré down to their grand plié on relevé. The most thrilling moment is when the dancers, in pairs, cross the stage with the women traveling in endless saut de chats—before repeating it on the second side.

A lighthearted pas de deux between Lensky and Olga also offers a lighthearted moment, with the kind of sweetness you might see in August Bournonville’s “Flower Festival in Genzano.” Miyake—always a standout soloist for his magnificent jumps and turns—proves his strong partnering skills with Fleytoux, who is light on her feet and at ease in many a promenade. Roxander (who, a week later earned his long-coming promotion to principal dancer) is ever-crisp in his technique. As she runs en pointe, Coker has a feathery touch to her movement.

The pas de deux between Onegin and Tatiana—which occurs as a dream, after Tatiana writes the mysterious man a love letter—goes heavy on the dramatics. Here is where Misseldine shines, with her long lines as Forster practically throws her around. Shevchenko’s Tatiana is a touch more self-assured, and in her lifts with Curley, she displays less a sense of abandon than of self-directed passion.

Lensky’s solo in the second act—performed just before his duel with Onegin—is a welcome moment for both Miyake and Roxander, giving both dancers an opportunity to indulge more in their artistry with an adagio. Miyake’s extraordinary sense of balance gives him the appearance of floating through his arabesques. Roxander’s acting is also worth calling out; his transition from charming to vindictive enhances his already technically refined performance.

The weakest point of the ballet may be one of its most dramatic moments: the moment a shot is fired, Lensky and Onegin stand upstage, near opposite wings. After such displays of emotion, this turning point feels unsatisfyingly conveyed. In their reactions, though, Shevchenko and Coker bring this moment the drama it demands. Coker is particularly affecting as she falls to the ground in agony.