What a relief to have Damian Woetzel back on stage. On Wednesday evening, Mr. Woetzel danced the lead in “Prodigal Son” at New York City Ballet.The program also contained another presentation of Christopher Wheeldon’s new work “After the Rain” and – for something completely different – George Balanchine’s lighthearted, Gershwin-mania “Who Cares?”

From the very beginning of “Prodigal,” the thoughtful Mr. Woeztel created a strong sense of character. Reckless and restless as the young man, he’s eager to see his fortune beyond the farm. He shakes that full head of brown hair, beats his legs, and springs into jumps with urgency.

When he’s gone off to Sin City, he meets the Siren, danced by Maria Kowroski. She was appropriately seductive and leering – maybe a little darker than she has been in the past. She seems to have heightened the idea of a blood-sucking femme fatale by cultivating a cold, distant visage. The message is: “You can’t touch me – but I’m going to hurt you.”

Created in 1929 by Balanchine for Diaghilev’s Ballets Russes, “Prodigal Son” is an impressive ballet for many reasons, but the one that struck me most directly on Wednesday was the compactness of the story. The tale travels a long emotional distance in a relatively short time. Part of its effectiveness is the use of the striking and creepy drinking companions, who are so aggressive in their soullessness. Their bald heads, grabby fingers, and cruel selfishness are so expertly crafted by the costumes and dancers that they communicate what the world outside the family will be.

Mr.Woetzel treated his return to his father (James Fayette) with humility and passion. Crawling across the stage to his father’s feet, he looked like the picture of shame. All his youthful angst gone, he winds up in his father’s arms, like a baby. It’s a mark of a real artist that Mr. Woetzel plays this sort of role with every bit the intensity that he brings to the Hoofer in “Slaughter on Tenth Avenue.”

Like “Prodigal,” Mr. Wheeldon’s “After the Rain” is a fairly compact work, but it is in a different genre of ballet – abstract, yet loaded with feeling. Saturday night’s premiere audience was a little thin, due to the blizzard, but it seemed that those who couldn’t make it then, showed up on Wednesday to see it. The weekday crowd seemed more breathlessly taken aback by and more responsive to the deeply beautiful work.

The central pas de deux in “After the Rain,” featuring Wendy Whelan and Jock Soto, the audience rightly showered with praise. What Mr. Wheeldon created is basically a deconstructed love duet that clearly uses the dancers’ talents. The style mixes ballet, modern dance, and contemporary dance – with a certain delicacy of phrase that Mr. Wheeldon has.

This is a ballet that basically only Ms.Whelan and Mr. Soto can dance – and when they’re done, it will have to be put away until someday in the future when an uncommonly talented pair emerges again.

After the soul-searching beauty of “After the Rain” came the light and lively “Who Cares?” set to a series of songs by George Gershwin orchestrated by Hershy Kay. The corps de ballet opened this work with a high, jazzy spirit. Amanda Edge stood out early as the central girl, in a kind of hostess role. Things were more even among the boys – Darius Crenshaw, Kyle Froman, Henry Seth, Jonathan Stafford, and Andrew Veyette – who were entertaining, if a bit too placid.

Miranda Weese gave a gorgeous, glamorous duet with Nilas Martins in “The Man I Love.” Her dancing is so lush that she seems to really take care of each romantic stretch of the arms and arabesque. The fireworks of the evening came from Alexandra Ansanelli, who threw in speedy extra turns and splashy flourishes that made some of us gasp in disbelief. When she takes the stage in a role that lets her have some fun, you find yourself anticipating huge things from her – what’s she going to do next?

Janie Taylor also provided some high notes. She has indeed continued to turn up the temperature and personality level. Her dancing in the bouncy “I’ll Build a Stairway to Paradise” solo in the past has been quick and clean, but more dull than bright. Now she seems to be opening up, sparkling, and having fun.

Mr. Martins was an able partner for all the leading girls, but didn’t quiet pull off the jazzman shtick. Instead of breezing down the street, snapping his fingers, he seems to be thinking, “Snap, Snap, step, step.” This ballet is a time to relax and have some fun – ask Ms. Taylor.

“Prodigal Son” will be performed again January 29 at 2 p.m., February 1 at 7:30 p.m., and February 5 at 8 p.m.; “After the Rain” will be performed again January 30 at 3 p.m. and February 1 at 7:30 p.m.; “Who Cares?” will be performed again January 29 at 2 p.m., January 30 at 3 p.m., and February 1 at 7:30 p.m. (New York State Theater, 212-870-5570).