City Ballet of San Diego opened its “Balanchine and More” with “Who Cares?,” George Balanchine’s 1970 ballet set to nine Gershwin tunes. Lighthearted and flirty, the piece was a delicious kickoff for a program demonstrating the extraordinary care that has made City Ballet a stellar company whose dancers gobble up challenging repertory … and do it to a live orchestra.

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“5 Soldiers” takes place at the White Box Theater at Liberty Station. The intimate space is ideal for Rosie Kay’s intimate, intense take on soldiers training, living, and ultimately risking their lives together. It’s ideal, as well, given Liberty Station’s history as a Naval training facility and whatever psychic resonance from those eager, scared, brave young sailors lingers in the walls. And it’s running here for two more nights. Go!

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Kyle Abraham took us in his arms and invited us in with three intimate pieces danced by his superb A.I.M (Abraham.In.Motion) company at the Balboa Theatre on Thursday. Then, before anyone could get too comfortable, he ignited the stage with the propulsive, hip hop-flavored “Drive.” The program also offered a rare treat: Abraham himself, filling in—in “The Quiet Dance”—for a company member who couldn’t perform that night.

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Fresh. Vital. These are not words I expected to use for the Martha Graham Dance Company’s performance at the Civic Theatre on Wednesday. … What a happy surprise, then, to see the exciting show the Graham company did here, performed by dancers who seemed enraptured by this work.

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Spinning on his heels, arms slashing, Aakash Odedra electrified the stage at the David and Dorothea Garfield Theatre on Tuesday. For the other solos on the program, titled “Rising,” he turned to three contemporary choreographers: Khan, Russell Maliphant, and Sidi Larbi Cherkaoui. And it happened that the order of the pieces here marked a progression from breathtaking to meh.

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