Main character Kilroy was powerfully danced by Heath Gill, who has become more subtle in his delivery, but no less intense or athletic. If he has a weakness, it is in his verbal articulation; I found myself straining to hear and understand him at times. In Marguerite, Pickett elicited a strength and a depth of passion from Nadia Mara that Atlanta audiences have not seen before. Christian Clark, too, as Casanova, gives us a new breadth of emotion and dramatic ability to match his elegantly classical line and his dead-on technical performance. John Welker, as Guzman, and Tara Lee, as Esmeralda, were predictably excellent. But this is a big cast, and Pickett brought out the best in all of them, not just the main characters. Even the Gypsy’s fluid arms as she sat alone, gazing into her crystal ball, were mesmerizing. I love it when someone unexpectedly catches my eye. This time it was one of the Cleaners, danced by returning artist Jacob Bush, who articulated every nuance of the movement with impeccable finesse. The cast sometimes broke into big “numbers” –a beautifully-rehearsed, simultaneous ensemble reminiscent of a Broadway cast breaking into song—and in those moments the ballet seemed to sing with a joy that belied its dark story line.