For Mr. Wright, the stars of the show are not the characters he’s created, but the Rockettes. “It’s like the numbers explode from inside the city itself,” he said. “There will be a sequence where pedestrians are filling the streets, and all of a sudden, you realize that they’re all walking in rhythm.”

One of the most glittering and arch moments of “Walk the Walk” features the Rockettes texting while walking. During a recent rehearsal, Ms. Haberman imparted a note: “No acknowledgment during that of anybody else,” she said. “You are locked into that” — she muttered under her breath gesturing to their mobile phones — “like every other idiot in this city.”

From dance to dance, the tone is different; what they share is how each exudes empowerment. In “High Finance,” which takes place at the stock exchange, Ms. Haberman shows the Rockettes’ strength with bold, sharp movements. “The trick was always still trying to honor the precision-dance part of the Rockettes,” she said. “They make a circle when they go down on their knees and use their arms: It’s like the cogs in the money machine.”

In a way, “High Finance” has a 1930s Busby Berkeley sensibility. “I was always trying to find those kinds of things where I could take something that you think of as maybe old or retro,” she added, “but make it new and modern.”

She also uses kick lines sparingly and in unorthodox ways. In “Electricity,” the Times Square number, there are only four kicks, knitted together by dévelopées instead of battements. Leading up to the finale’s kick line is a series of arabesques and pencil turns. Jessica Osborne, in her sixth season as a Rockette, said it’s like nothing the Rockettes have done before.

For Ms. Osborne, the transformation of the kick line is “like throwing away that old purse that you’ve been trying to throw away since 1977. Not that we’re throwing it away, because we’re still incorporating it, but it’s a nice feeling to know that we don’t need it in every number.”