NYCB’s “French Cuisine” was obviously titled with two well-known French composers, Debussy and Ravel, in mind. Much like Balanchine, Robbins knew how to chose music—just viewing his “Afternoon of a Faun” is like watching a complex puzzle piece slide and fit with it’s perfect match. The connection is strong.

The program opened with “Mother Goose,” a short-form version of “Sleeping Beauty,” with Tiler Peck as “Princess Florine,” and Gwyneth Muller her “Good Fairy.” No objections there.

A few other characters from fairy tales make cameo’s in Princess Florine’s dreams, like “Beauty and the Beast,” with Kathryn Morgan as the beauty and Adrian Danchig-Waring as her beast, my personal favorite among “Hop o’my Thumb,” and “Empress of the Pagodas,” lead by Savannah Lowery and Jason Fowler.

Robbins’ iconic “Afternoon of a Faun” followed on the program, danced by Janie Taylor and Damian Woetzel. Their pairing was successful, but their approaches differed. Janie seemed to draw her movements from a natural place, being at times, vulnerable but genuine. Damian danced more with his head, it seemed, aiming even his solo moments at placement perfection (if you’ve ever seen Nureyev place himself in fourth position preparation for a pirouette, the idea is the same). I wanted to see him more organic; more in the moment.

As I wrote earlier “Afternoon of a Faun” satisfies because the elements fit so well. Robbins decision to retain the name of Debussy’s work as the title of the ballet leaves the plot is in the air and comments on the lead females character as an innocent, beautiful, and youthful creature. After the Damian kisses her delicately on the cheek she simply glides away, coincidentally stepping off en pointe—her legs spindly and long like a fawns.

Rachel Rutherford, Rebecca Krohn, Sara Mearns, and Teresa Reichlen danced in “Antique Epigraphs.” Robbins obviously drew on Greek art as an inspiration, even ending each variation with a casual vase-like pose. I’m biased toward Rachel Rutherford, she performed so much where I’m from that watching her feels like home. Sara Mearns is extremely potent in everything she’s cast, but in some instances her upper and lower body disagree (i.e., she’s fluid on the bottom, more restrained on top).

Wendy Whelan and Philip Neal lead the last work, “In G Major.” The Wendy Whelan fan club was in full force among the second and third rings. She merely set her foot on stage, and they burst into applause and did so again at her every entrance and exit.

“In G Major” makes a lot of cute remarks and nifty shapes but not something you’d retain days after viewing. It’s pas with Wendy and Neal is nice, but long. Wendy for me is still an enigma; I watch her in an effort to define her craft, but never can.