The three dancers are schooled differently, hence approach their roles from different perspectives even when their work melds together dramatically into a storyboard whole. One does not need biographical information to quickly grasp Shkylarov is from the Kirov, Semionova is from Berlin via the Bolshoi school and Seo is not Russian in training. With the cast changes and apparent limited rehearsal time discussed earlier in more formal published reviews.there was an issue in the pas de huit. With the stages of both the Royal in London and and the Met narrower than the Russian stages, the cast change and the otherwise noted limited rehearsal time Shkylarov had an issue with the dance floor he certainly did not experience when he danced recently Ivan in THE LITTLE HUMPBACKED HORSE on the Met stage with a Russian laid dance floor. Two pas de huit dancers were too close to him and were nearly in an accident but Vladimir, an experienced performer, managed to avoid this and stay in character. Following the pas de huit, Shkylarov and Seo soon have back to back variations and Semionova a major dance sequence several minutes later. All were well done yet from different ballet perspectives. What really came together were Shkylarov and Semioniva onstage and the concertmaster in the wings for the violin solo in the grand pas de deux and the true glory of the execution of the closing movement of the grand pas which rocked the house as one of the most exciting renditions i have seen over the years in more than forty performances by different companies.