The question now was whether these tensions could be resolved with grace. Vowing to transform the Ballet, Millepied had asked for more directness and emotion. He had ignited plenty of both. He often told dancers that the key to a great performance was to be emotionally receptive to the people around them. Would he be receptive to the pain and anger he had caused within the company, after the initial excitement and hope? Was this pain, like in dancing, simply a sign of stretch and growth? Or would relationships be strained beyond repair