New York City Ballet’s “Romeo & Juliet” has four different sets of leads, and Saturday afternoon’s performance featured Tiler Peck and Sean Suozzi, both of whom left much to read in the tea leaves.

Mr. Suozzi’s Romeo was a bit scrappy and rough, despite the non-competitive, peacemaking nature of his character. This cheeky quality makes his first interaction with Juliet — their loveat-first-sight moment at the Capulets’ ball — logical. His Romeo is an uninhibited guy looking for adventure. And when he finds it, he reacts violently, as in his decision to avenge Mercutio’s death.

More importantly, Mr. Suozzi gave the scenes with Juliet some sizzle, which was lacking at times with the opening night cast of Robert Fairchild and Sterling Hyltin. Mr. Suozzi’s passion and his later desperation register boldly, especially in the tomb scene in which he attempts to wake Juliet. If you want one upand-comer to remember, it’s him.

As for Ms. Peck, she presented Juliet’s growth in Act II with differentiated details. In Act I, however, she could have been performing almost any ballet that requires strong vibrant dancing. She’s a natural for “Ballo della Regina,” but her beaming and smiling to the audience seemed out of place in the bedroom scenes with her nurse.

Ms. Peck was more successful when employing the dramatic effect of stillness. Her ability to stop and pause drew attention to her decision-making. Waking up while Romeo is still tossing in his sleep, she takes full advantage of a reflective moment to herself. In a later scene in which Juliet decides to go to the Friar, Ms. Peck did not rush the thought process, even though this choreography allots precious little time for the decision.

Saturday’s Mercutio was Andrew Veyette, who danced with verve and clarity. His lean legs made the sword fighting scenes especially elegant. Benvolio doesn’t get much primetime action, but Austin Laurent delivered a clean performance. Together, these two characters framed Romeo well; these are steady guys who prefer the ordinary to the extraordinary. This is very much in contrast to the opening night cast in which Daniel Ulbricht, a powerhouse, creative dancer, stole the show again and again. (Which is not a complaint.)

The role of Tybalt was danced by Amar Ramasar, who has a line that accentuates forward motion. On his body, the bent-knee arabesques — used to gain territory in the market square —look especially menacing. He was also successful in conveying Tybalt’s resentment in the ballroom scene; after he recognizes Romeo and wants him thrown out, he stands alone with a dark mien that suggests storm clouds brewing over his head.

As the nurse, Amanda Hankes was appropriately fussy, though her gestures were clear. Ask La Cour as Friar Laurence seemed a little too mellow to be a person who advances the plot so significantly.

Until May 14 (Lincoln Center, 212-721-6500).