It’s an unusually quiet June afternoon at the School of American Ballet. The winter term has just wrapped up, the summer intensive has yet to begin, and the studios are empty except for two New York City Ballet principal dancers: Chun Wai Chan and Mira Nadon, who are busy rehearsing Chan’s own creation, Butterfly Lovers. Both dancing and coaching your partner in your own choreography would be consequential enough. (“I usually don’t get nervous …
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