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Photo by Brennan Booker

While leading a rehearsal of Balanchine's Serenade, Stacey Calvert can't help but join in, marking at the front of the studio with a grin on her face. It's a Friday morning at the University of South Carolina—where Calvert taught and staged works for 17 years—and the dancers are preparing for the annual spring performance, Ballet Stars of New York, during which the students are joined by several New York City Ballet dancers who perform soloist and principal roles each year. Calvert had helped organize the event since 2005, bringing to Columbia, South Carolina, such dancers as Lauren Lovette, Jared Angle and Sara Mearns, who grew up in the area and trained at Calvert's mom's studio. As a George Balanchine Trust répétiteur, Calvert clearly is a master at the choreography, and as a former NYCB soloist herself—she retired in 2000 after a 17-year career—the steps are firmly embedded in her muscle memory.

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"Dancers can do everything these days," I announced to whoever was in earshot at the Jacob's Pillow Archives during a recent summer. I had just been dazzled by footage of a ballet dancer performing hip hop, remarkably well. But my very next thought was, What if that isn't always a good thing? What if what one can't do is the very thing that lends character?

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