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“She was such an exquisite practitioner of breaking things down, each count, each half-count, each change of balance, each quarter rotation, each promenade, each ���Գ���é … breaking things down to those minute details.”

At times, plunging into a ���Գ���é or rotating in an arabesque, she seems like the prototypical ballerina against which more skewed, less classical movement defines itself.

In it, King plays with the very idea of ballet: Cecilia Iliesiu intentionally teetered, showing beautiful control, while balancing on pointe; Amanda Morgan struck a perfect arabesque ���Գ���é and then flexed her free foot, quirkily changing the shape of the pose.

The better the dancer’s first arabesque ���Գ���é—the more exact, the more spirited, the more singing its line—the more he or she will embody the promise of the ancient Greeks, lasting at least up to Keats, that beauty, truth, and virtue are inseparable, that we live in a good world.

After brunch at Le Clocher Penché, I stopped at an even newer addition to the neighborhood, right across the street: Deux22, a clothing boutique that opened in late spring and just added a bar serving local beers, Mexican food and tequila.