It’s possible to sum up today’s NYCB matinee performance in one sentence: Teresa Reichlen rules.

No seriously, she does.

Her gestures, expressions and overall exuberance flavoring Martin’s “The Chairman Dances” was incredible. So incredible, that I want to see her in that role again. I was also impressed with Martin’s choreography.

I own the complete recording of John Adam’s opera “Nixon in China,” and heard the “Chairman Dances” years ago at a concert and immediately hunted it down. It’s perfect to dance to (and I did that often, standing on a chair in the living room a la the Emperors wife in the opera), and perhaps my favorite from the evening. But it would be hard for me to pick a favorite in a show with five ballets.

The first of the five in NYCB’s “World Tour” was Balanchine’s sexually charged “Bugaku.” Two of my favorites, Wendy Whelan and Albert Evan’sdanced the leads. I always hear of people talking about definitive Balanchine, but leaving out “Bugaku.” I’d consider it one of his best. The movement is unrivaled and altogether spectacular. I met up with Philip during intermission, and he fanned himself. “Wasn’t that sexy?” he said.

Wheeldon’s “American in Paris” was next. I’d seen it last season, and it was much better then. The corps seemed a little less-cohesive than on my first viewing. Tiler Peck is always tops, and so is Damian Woetzel.

You should never trust my opinion when I’ve only seen something once. I blasted Martin’s “Valse Triste”a few months ago on first viewing. I watched it again today with Darci Kistler and Jared Angle, and finally I see its strong points. (Now if you could only tie me to a chair and get me to watch “Davidblundertanze” again…)

That life changing performance of “The Chairman Dances” was followed by Alexei Ratmansky’s “Russian Seasons.” I know Tonya’s going to kill me for writing this, but I love, love, love “Russian Seasons.” It’s such a middle-ground work, it’s not too contemporary, yet it’s not completely classical. It retains, almost magically, a wide range of styles. I could watch it five times straight and not get bored.

Wendy Whelan, Albert Evans, Rachel Ruthorford, Rebecca Krohn, Glenn Keenan, Rebecca Krohn, Antonio Carmena, Adam Hendrickson, Amar Ramsar, Jonathan Stafford, Sean Suozzi and Abi Stafford were cast. Albert’s dancing has an incredible amount of “sweep” to it that I like. Rachel Rutherford is always great (the Mobilian’s call her a “princess”). I liked Rebecca Krohn in the role I’d seen Georgina Pazcoguin do previously. They both have their own good qualities, but Rebecca seems a little more controlled.

I’m fond of seeing Antonio Carmena because he’s so sharp and always smiling big and wide. I’m getting the smallest little school-girl crush on Jonathan Stafford and his princely presence.

I attended the show with my new friend Myles. My tickets were from a friend, so we were in the first row of the first ring. It was Myles’ first trip to see New York City Ballet, and I think he enjoyed it.

During intermission I met up with Philip, and Evan (from “Dancing Perfectly Free”). We chatted about dancers—Evan said a few were seated in the house. We all noticed how poorly attened it was for a matinee, lots of empty seats. I didn’t see any dancers like my friends, but spotted maestro Faycal Karouion his way to the theatre, listening to an iPod. Myles and I had a post-show dinner at Bistro Cassis(Columbus and 70th), where we dined al fresco on roast chicken and pomme frites.