If you want to spend a solid 20 minutes not thinking about the election, a sure bet is a seat at City Center when American Ballet Theatre is performing choreographer Kirk Peterson’s “Amazed in Burning Dreams.” This gripping contemporary ballet removes from your mind the issues of the day.

Set to a propulsive score by Philip Glass, “Amazed in Burning Dreams” uses clear, linear patterns, outstretched whirling arms, and high-speed sequences of movement. The ever-changing rotation of dancers means you’re never really sure who or how many dancers are going to be tossed out on stage. The costumes have a 1980s, New Wave edge (even though this was created in 2001); there are green unitards, red wristbands, and a wide, red stripe painted over one eye on each dancer’s face.

Though there was a certain degree of sloppiness on Tuesday night, it did not drag down the overall ballet. And several individuals gave outstanding performances. Foremost was Danny Tidwell, in his debut in the role, whose commanding presence and artistic power make him a force to reckon with. Lush but detailed, soft but quick, his movement is absorbing. His part included some modern movements, which he attacked with vigor.

David Hallberg was also stunning in a solo. His back-bends created a long, beautiful line, especially when set against the dark backdrop. He was joined by Carmen Corella and Eric Underwood in a pas de trios that had personality and verve. This bunch had a smooth flow, and their steps were delivered with confidence. Kristi Boone and Marcelo Gomes, a searing pair, matched the music’s intensity.

When the full group takes the stage, the ballet has a controlled ferocity, as if a great deal of angst and nervousness has been channeled into fast, straight arms and serious poses. The lighting and the music in this ballet contribute to a heightened sense of drama.

“Amazed in Burning Dreams” was not the only Calgon ballet (the sort that takes you away).Angel Corrella poured it on thick in his pas de deux from “Le Corsaire,” with Paloma Herrera. He dazzled the crowd with switch-leg leaps and bends in his speed-demon turns.

Mr. Corrella’s performance was the sort that proves what a hard worker he must be. He was on stage for fewer than 10 minutes, so he gave the audience everything he could muster. His short burst of bravura may have been a little over the top, and it may not be to everyone’s taste, but it’s exciting (even a little inspiring) to see someone push so much and so far.

In “Le Spectre de la Rose,” Herman Cornejo created a more commanding presence than he had on opening night. He dances boldly and seems to be furling himself into the curliques that the Fokine choreography demands. This piece would be a chest-clutcher if the folks in charge could move the set back, reduce the furniture, and give him room to show off. It’s clear we’re looking into a girl’s room; the phony harp in the corner is just cluttering the scene and clipping Mr. Cornejo’s wings.

Finally, a cast change in Trey McIntyre’s new work “Pretty Good Year” made the abstract piece look completely different. Not necessarily better, but different. Mr. Hallberg gave the leading male role a more fluid, refined look than the explosive, aggressive Mr. Cornejo had last week. Mr. Cornejo and his partner, Stella Abrera, interacted more closely than did Mr. Hallberg and Gillian Murphy, who seemed slightly miscast in this role.

A classical ballerina of superb physical strength, Ms. Murphy excels when technical flourish is required. But here she didn’t seem at home in the original movements, which needed creative interpretation. There was more to watch in Laura Hidalgo’s full throttle approach.

This ballet ranges from zippy to soulful, but it left me (for a second time) still searching for something to hold onto.