Peter Martins is soon going to have a problem finding enough parts for everyone. There are so many superb young women in New York City Ballet right now that every show is a feast for the eyes. It’s hard to know where to focus your attention. Miriam Miller is the latest ballerina to stand out and she may well be the best at such a young age since Sara Mearns. Last spring, while still an apprentice, Miller made her debut as Titania in Balanchine’s The Drea . In this performance she danced the challenging pas de deux that closes Part II of Agon. But first things first.

Andrew Scordato and Megan LeCrone © Paul Kolnik
Andrew Scordato and Megan LeCrone
© Paul Kolnik
This Black & White program opened with Episodes which was excellent. Megan LeCrone’s fantastic control is sometimes stifling in lyrical pieces but it was perfect in the meticulous steps of Symphony, Opus 21. Her gorgeous clarity revealed the choreography with just the right articulation. Teresa Reichlen stepped in for Savannah Lowery in Five Pieces, Opus 10 and paired beautifully with Jared Angle. Then it was Unity Phelan and Craig Hall in Concerto, Opus 24, who gave us the best pairing of this ballet. They moved together seamlessly. The exquisite Ricercata closed it out with Rebecca Krohn and Russell Janzen. This ballet is one of those reminders that Balanchine was a musician as well as a choreographer. He picked up on von Webern’s clever and brisk passing of the melody between the instruments and echoed it in the choreography. It was all played very well by the orchestra under Clotilde Otranto and danced with musicality.

Agon was another fine performance with no weak spots. Best for me was seeing Andrew Veyette dancing the Sarabande. I thought he was miscast as James in La Sylphide but he was back to his best self here and moving with his usual swaggering assurance. Ashley Hod and Gretchen Smith gave a buoyant account of the Gailliard and then Harrison Coll and Joseph Gordon flew through the Bransle Simple. Ashly Isaacs, another of City Ballet’s outstanding young women, was truly exciting in the Bransle Gay and turned in the best variation of the ballet. It was the closing Pas de Deux of Part II that opened everyone’s eyes. Miriam Miller, paired with Amar Ramasar, was stunning. There were moments during the complicated partnering that she appeared tentative and showed tension in her arms and hands. Balanchine’s partnering involves many hand switches and rapid pivots and the only way to learn is by doing it over and over. This was just her second time in the role. No doubt she will be able to relax and let it flow once her confidence grows. Everything else about her is perfect. She is quick, lyrical and precise. Her physique is long and refined. Judging by the curtain call, Miller is on her way to the top and it won’t be long before she gets there.

New York City Ballet © Paul Kolnik
New York City Ballet
© Paul Kolnik
The Four Temperaments , the perennial show-closer, was yet another great performance. In the opening Theme, Lauren King and Daniel Applebaum were beautiful together. Gonzalo Garcia’s Melancholic was very good and so well supported by the dynamic duo of Georgina Pazcoguin and Meagan Mann. Hands down the best pas de deux of the night was Sara Mearns and Tyler Angle in Sanguinic, the dance full out all the time and every step and port de bras stretched out to its fullest. I don’t remember when I last saw Angle dance so well and Mearns is just great all the time. I’ve yet to see her give an off performance. All of Angle’s jumps and turns were on the money and landed in tight, clean positions. Adrian Danchig-Waring’s Phlegmatic showed him at his very best. He’s a fluid and lyric dancer, spell-binding in his ability to draw out a phrase. Only Taylor Stanley dances that beautifully among City Ballet’s men. Then it was down to Teresa Reichlen bringing it home in Choleric. I’m not going to talk down her performance because she did it so well but I really missed Ashley Bouder here. She defines Choleric for me; the way she practically leaves blisters on the floor is thrilling. Altogether it was danced with outstanding musicality by the whole company.

With so much talent on tap, Peter Martins is going to have his hands full keeping them all busy. Just off the top of my head I can think of a half dozen women among the corps de ballet with the potential to become principal dancers over the next few years.