My daughter went with a crowd from BU's honors college opening night and they all adored the Forsythe and Glass Pieces. I was surpised Agon was less well received, but I think their ears and eyes have been more trained for the other two... Remembe back when the repetitiveness of Philip Glass & Steve Reich was controversial? This generation grew up with that style of music as soundtracks for movies and tv advertisements (different sure, but more similar than 12 tone) And the Forsythe sure speaks to the Instagram generation. Balanchine's Agon lines are best delivered clean cool and with stillness. Not made to be punched or muddled. The timing is tricky... as is the movement intention... if there is no reach in the extension because it came so very easily, perhaps it misses a subtle dramatic quality... and yet if the reach is over emphasized, the sophistication is lost. Decades ago PA Ballet used to do a killer Agon, but the dancers had the advantage of being closer in time to the originsators. Not sure what the answer was, but I imagine the casting makes a difference. I don,t have my program handy (which oddly had the wrong cast anyway, but I wrote down the corrections) but some of the dancers seemed better in it than others... who looked like they were doing Rubies or Forsythe or Elo perhaps... the muscle memory must be so close in some of those movements! I remember liking the blonde dancer in the pas de trois. The toss somehow did not quite hit it though. And there were some strange overly fay wrists in some sections that I don't remember having that quality in other productions... bent, sure, but not flipped.