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Orlando Ballet dancers Kate-Lynn Robichaux and Arcadian Broad. Photo by Michael Cairns, courtesy Orlando Ballet.

It's been nearly a year and a half since Hurricane Maria devastated the island of Puerto Rico, but that doesn't mean the effects of the storm aren't still being widely felt. Thousands of Puerto Ricans relocated to Florida after the storm hit (the exact number is unknown), and many are still settled in Orlando.

This weekend, Orlando Ballet brings its Bailamos! program to audiences in Central Florida, and the company is offering 1,000 free tickets to Puerto Ricans in the area who were displaced by the hurricane. The ticket donation was organized in partnership with Orlando's Hispanic Chamber of Commerce and the Puerto Rico Federal Affairs Administration, who helped spread the word about how individuals and families could claim their tickets to the February 16 matinee. Some of the marketing for the performance was entirely in Spanish, and the program will also include an insert for Spanish-speaking audiences. "We're not just a professional ballet company; we are Orlando Ballet and we have a role to play in this community," says executive director Shane Jewell. "We have a social responsibility, I believe, as an arts organization, to do whatever we can to enrich the quality of life for everyone who's here."

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Joaquin De Luz in Prodigal Son, one of his most celebrated roles. De Luz retires from New York City Ballet this week. Photo by Paul Kolnik, Courtesy NYCB.

Wonder what's going on in ballet this week? We've pulled together some highlights.

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Ballet Careers
Photo by Michael Cairns, Courtesy Orlando Ballet.

As the dancers processed through downtown Orlando—smiling, laughing, heads held high—Orlando Ballet artistic director Robert Hill allowed himself to relax and take in the moment. It was 2013 and the company was headed toward its future.

Rising from the rubble of a construction site was the Dr. Phillips Center for the Performing Arts. The dancers were about to see their new performance space. “It was a game changer," Hill recalls. “I couldn't stop watching their faces."

The ballet had nowhere to go but up: A mold infestation, not uncommon in Florida's humid heat, had driven the troupe from its longtime rehearsal home. And every day seemed to bring new challenges, like instability in the company's business management and a cash flow that had slowed to a trickle.

Hill's mantra to his dancers stayed positive: “Let's hang on, everybody. We're going to get through this."

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Leslie Browne on the set of The Turning Point. Photo via Alchetron.

Have you ever spent a later summer evening, with the first hints of cooler weather swishing through trees, reflecting on the memories of a season come and gone? This is precisely the mood Antony Tudor evokes in his 1975 piece, The Leaves are Fading. In this clip, former American Ballet Theatre principals Leslie Browne and Robert Hill perfectly capture memory's nostalgia. Browne swirls in and out of Hill's arms, energy sometimes picking up as if in a warm summer breeze. But mostly the pair's movements are soft and dreamlike. Rather than concluding the pas de deux with fanfare, the two fade offstage—indeed, like green fading gradually from leaves.

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