“Once upon a time it was easy to defend the orthodoxy of the Balanchine style in practice. It was on stage with the master’s imprimatur at the New York State Theatre. Things are not that simple anymore. Suddenly, Balanchine is everywhere. And his dances simply don’t look the same on Martins’ New York City Ballet, Tomasson’s San Francisco Ballet, Mitchell’s Dancer Theatre of Harlem, the Suzanne Farrell Ballet or in Villella’s own Miami City Ballet.”