It’s a wonderful and rare thing in the theater when the exact right script, director, company, and moment come together. That wonderful, rare thing is even more remarkable when all of the aforementioned entities emerge from local talent.

Maine and its people are often the butt of New England jokes, much as the U.P. and Yoopers are often viewed in a stereotypical light by those of us downstate. And yet for outsiders, there’s something terribly appealing about places far north and the requisite ways of being amid interminable winter set apart from the rest of civilization — at least to peer in at from afar.

During Act I of “On Your Feet!” there's a moment where Gloria (Christie Prades) and Emilio (Mauricio Martínez) are talking with Phil (Devon Goffman), a record label executive who won’t back their new hit because it isn’t in Spanish. An argument ensues — for a variety of reasons — but leads to the audience finding out more about Emilio’s background and how he came to America, how he’s been there for 15 years, and how he’s worked his butt off to get where he is. Suddenly he shouts, “Look at my face. Whether you know it or not, this is what an American looks like.” Cue one of the audience’s many thunderous applauses.

There is no art form more embodied by or tethered to the human form than dance, and classical ballet historically capitalizes on romantic ideals of gender binaries. George Balanchine, arguably the most influential 20th Century choreographer of ballet, famously declared, “Ballet is woman.” Woman as femme, woman on the excruciating yet ethereal pedestal of the pointe shoe, and woman as lifted and held by man. As dance critic Alistair Macaulay points out, Balanchine’s “kind of ballet was always a man’s view of woman, and a solely heterosexual one.”