Some things recent, some things new in Atlanta Ballet’s 2014-15 season

Feb. 14-15, 2015: One-hour family performance by Atlanta Ballet Fellowship Ensemble

March 20-22, 2015: "Camino Real" (with Atlanta Ballet Orchestra)

April 17-19, 2015: "Modern Choreographic Voices" (mixed repertory: "Classical Symphony," "Minus 16")

May 15-17, 2015: "Mayhem" (mixed repertory: "Cacti," "Seven Sonatas")

All performances are at Cobb Energy Performing Arts Centre, except "Nutcracker" (at the Fox Theatre). Subscription packages are on sale, with single tickets available in early summer. Information: 404-873-5811, www.atlantaballet.com.

For its 2014-15 season, Atlanta Ballet will push forward with the help of a trio of established and emerging choreographic stars while simultaneously circling back to revive three recent hits, The Atlanta Journal-Constitution has learned.

First the new in the lineup, being officially announced at a luncheon Thursday: the world premiere of an adaptation of Tennessee Williams’ “Camino Real” by resident choreographer Helen Pickett; and Atlanta premieres of “Classical Symphony” by Russian-born San Francisco Ballet resident choreographer Yuri Possokhov and “Cacti” by Swedish choreographer Alexander Ekman.

A 1953 melodrama by Williams that deals with issues of mortality and human connection, “Camino Real” was to have debuted this season but was delayed so that British composer Peter Salem could be commissioned. The score by Salem, who created the music for Scottish Ballet’s adaptation of Williams’ “A Streetcar Named Desire,” will be performed live by the Atlanta Ballet Orchestra during the full-evening dance.

The New York Times called Possokhov’s “Classical Symphony” an exhilarating and bold display of full-throttle academic pure dance with modern accentuations.”

Ekman’s website describes “Cacti” as a gleeful parody of dance’s greater excesses, with 16 dancers creating rhythms with four musicians playing onstage.

Atlanta Ballet also will revive Jean-Christophe Maillot’s “Romeo et Juliette” and Alexei Ratmansky’s “Seven Sonatas” from this season as well as Ohad Naharin’s “Minus 16,” first seen in 2012-13.

In an exclusive interview with the AJC, artistic director John McFall said the representations were a gift to his dancers and the audience, comparing them to the chance to reread a favorite novel or view a film a second time, the works gaining greater resonance in the process.

Because Maillot’s interpretation strips away scenic elements to focus sharply on Shakespeare’s characters, McFall called “Romeo et Juliette” “very dense” and worthy of reconsideration.

“One viewing just doesn’t do it,” said McFall, who has worked in recent years to build his company’s contemporary repertory. “In fact, I saw it six times, and I know the dancers and I know the choreographer and I’ve been looking at dance for quite a long time. But every time I witnessed it, it was vibrant, scintillating and it touched me deeply.

“So bringing it around again for the audience (is) almost an obligation.”

Naharin’s “Minus 16” was the first in a trumpeted three-year collaboration with the celebrated inventor of the “gaga” movement language. But after last weekend’s performance of Naharin’s daring “Secus” (with some dancers performing one part partly nude), an Atlanta Ballet representative acknowledged that the partnership is becoming more open-ended.

Of course, no Atlanta Ballet lineup could exist without “Nutcracker,” which will open the season in all its fully costumed splendor for the third consecutive year.