Written and directed by Addie Ulrey, Ragged Wing’s installment, “Manifest,” takes place in and around a trendy coffee shop across the street from the new building. Alex (amusingly anxious Fenner) adores the coffee there, but feels terribly guilty frequenting the place, as if every cappuccino she orders further gentrifies the city. It doesn’t help that her girlfriend, Lourdes (amiable, head-in-the-clouds Anna Maria Luera) has fond memories of the neighborhood joint that the new cafe replaced. In fact, she spends her days fishing memories out of the air and putting them in plastic bags. Their friend Lee (Venus Morris as an exasperated go-getter) is in town trying to get low-income housing built and is aghast at this monolith that just appeared. The highlight of the whole evening is Emmy Pierce and Mary Matabor as an idly observing chorus of hilariously blase baristas.

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Bridget Whitman was a 19-year-old from Arizona whose dad was in an automobile accident when she was 12. Her two older brothers were unhurt, but her dad died, and soon the judges, especially Mary, were soon in tears. In fact, Mary cried throughout the entire routine and the comments afterward. But Bridget was an amazing dancer and got a ticket to the next round. There was a montage of “the boys of Philly,” as Cat referred to them, and they all were good enough to earn tickets. Amir Sanders was a ballerina with a crazy Afro and several piercings in her nose, and she did “funky pointe” that wowed the judges. Misty thought her technique was beautiful and so were her lines, and Mary agreed, but did Amir get a ticket? Nope, she was sent to choreography. Weird.

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As directed by Bess Kargman, “First Position” is, in part, the latest addition to a documentary subgenre that’s proved wildly popular. Combine eager youngsters with the elixir of competition, and whether it’s spelling bee rivals in “Spellbound” or recreational dancers in “Mad Hot Ballroom,” you have a formula for maximum audience engagement. But because, as its title indicates, “First Position” is set in the world of classical ballet competition, the situation is even more compelling and emotionally involving. For young people, it’s more than a hobby or a sidelight. Ballet consumes lives and involves an overwhelming commitment of time, emotion and funds from not only the child, but also his or her adult support group.