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Mr. McGregor takes several of those vexed Balanchine features — the flexed feet, the hyperextension of individual limbs, and the overcrossing of two or more limbs — and takes them, as Mr. Forsythe did in the 1980s, further.
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Hard-line classicists have long said that S.A.B. dancers overcross positions, overarticulate elbows and wrists, shift their hips out of alignment to raise the leg in extension and let their heels off the floor too soon in plie, the luxurious ready position that gives ballet steps their spring and lilt.
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CEO of Professional Science Editing for Scientists @ prosciediting.com