My former boss turned Miami Today journalist is in the city visiting. We went to the ballet yesterday night (Thursday) to see NYCB’s “Four by Four.”

It was my friends first NYCB ballet, but she’s seen Miami City Ballet perform “Jewels” and “Romeo and Juliet” before. I met her by the fountain and as we entered the theatre I showed her everything from “Center Stage” that she might recognize. We stood at the fourth ring balcony people-watching, then took our seats.

I looked at the program and realized that I knew someone in each ballet: Kathryn Morgan in “Ballo della Regina,” Albert Evans was dancing with Wendy Whelan in “Liturgy” and Daniel Ulbricht would be performing the lead in Peter Martin’s “Les Gentilhommes” and Robbin’s “Fancy Free.”

When the lights went down, I noticed that the fourth ring was so empty. Every seat past row H was unfilled.

First up was “Ballo della Regina” a Balanchine work mirroring the Verdi opera. Ashley Bouder and Benjamin Millepied were the leads, supported by Erica Pereira, Kathryn Morgan, Ana Sophia Scheller and Ashley Laracey. This was my first time seeing Ashley Bouderlive and she was so fierce on stage and she makes everything look so effortless! Her variations required a lot of technical hops en pointe. The audience was so dead they hardly applauded, but they should have.

Kathryn Morgan has the most beautiful grande jete on this planet. She was given such testy portions and she flew right through them with ease. The other girls were equally strong.

Philip spoke highly of “Liturgy” and I expected to see something profound. Especially since it was set to Arvo Part and choreographed by Christopher Wheeldon; I almost absolutely love everything he creates.

Albert Evans and Wendy Whelan are just so emotive. Wendy seemed vulnerable and endearing. I love her lines more than any other dancers (truly) and Albert performs with his soul driving every movement. Despite their talents, I got a little bored midway. The shapes were original and beautiful, but when overused contortions lose their luster.

I’m glad Wheeldon chose Parts music. I have a recording of his “Frateres,” and the version I have is a little antiseptic and shallow. The orchestra however was so raw and fresh because of the different players. Experiencing the work live made it for me.

During intermission my friend and I stood to stretch. A ballet-goer beside me left right after the second act. “It’s probably not as good as ABT” he said to his friend. I’m not sure why they left, but if it was because of taste, I’m shocked they didn’t give it a second chance after intermission.

Peter Martin’s ballet “Les Gentilhommes” was the first piece of the second half. According to the program it was supposed to showcase how “elegantly a man can move” as opposed to being showy and flashy with turns and jumps, calling to mind the attitudes of 18-century courtiers. The piece is what it intended: soft, and reserved but closely resembled a student piece. When it was over, it was like watching a male version of Balanchine’s “Symphony Concertante.”

Daniel Ulbrichtwas the lead, and I was extremely excited to see him dance in something more classical, since I’ve only seen him in really manly roles (”Tarantella” and “Mercutio”). You could stop his turns on a dime, and I write about it often, but his beats are consistently clean. One of the other guys stood out too, but I couldn’t make out his face from the fourth ring.

After my experience with Jerome Robbin’s former friend and his sailor hat, I was bouncing in my seat for “Fancy Free.” I loved everything about the ballet. The characters were really exaggerated and comical, and the movements evocative of that time. (And Daniel did a toe-touch!)

After the show my friend and I walked down from the fourth ring chattering. A light rain fell during the performance, so the plaza was damp. My friend was heading back to her hotel so I hailed a cab home. I tried to convince myself that my nightly drives through the park are beginning to feel like routine. But they aren’t. I still feel like someone given a ticket to a momentary dream world that may one day expire.