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In ballet, one of the hardest things to predict is how a young dancer will develop. At New York City Ballet over the past two decades, talent after talent has turned up, pink and shiny, only to succumb to the mixture of anxiety and ennui that seems to rule the company these days. (Last month, it was announced that Monique Meunier, the most grievous of the troupe's stalleddevelopment cases, is finally leaving. She will join American Ballet Theatre in the fall.) Of course, there are exceptions. Jennie Somogyi, who joined the company almost eight years ago, is now showing the same kind of miraculous flowering that we used to see in young Balanchine ballerinas: week by week, ...