I agree entirely with Cargill's response to this. 7 Deadly Sins is an example of the sub-genre of Balanchine theater pieces. Anna II was NOT a dance role in any conventional sense. The character must act, though using mimetic and dance movement. More, she must be able to hold the spotlight even when a vast amount of interesting (or distracting, depending on your point of view) stuff is going on around her.
Balanchine STRONGLY discouraged his dancers from 'acting', as is extremely well known,
My point , which apparently was entirely lost, was made by my placement of the word 'acting' in quotations. That means ballerina mannerisms, posturing, crotchets, schticks, and so much of what is now seen on stage both in ballet and in theater. We clearly disagree ENTIRELY on the esthetics of Seven Deadly Sins, on the period, and on Balanchine choreography whether or not it is 'neoclassical' and involves 'steps'...and on the impact of ANY Balanchine choreography with a great dancer in it.