Two pas de deuxs, both from Graham’s 1952 “Canticle for Innocent Comedians,” follow. “Stars,” performed by Johana Gracia Morales and Eddy Pérez Trimiño, is a delicate swishing piece. Trimiño repeatedly lifts Morales above his head and to his side; she extends out a leg in développé or attitude. The pair have a light and easy quality to their movement; Trimiño has clear strength but has a particular grace that’s most apparent when he turns in attitude or arabesque. “Moon,” performed in this show by Aspen Mason and Julian Myrland, is the more intense of the two. Where the “Stars” couple repeatedly come together, the “Moon” duo often perform chest-to-back. Mason bends her body over Myrland’s torso. In the most striking moment, he lifts her with the soles of her feet pressed together, her chest and arms open as if making an offering. It’s a difficult work both technically and stylistically; the dancers rise to the occasion. 

“Weaving,” a 1999 work by Michael Mao, however, is the standout of the first act. It’s acrobatic and athletic, with two pairs of dancers moving, insistently, to a percussion-driven score by Leonardo Eto. It was, the program notes, “originally conceived as a series of body alignment exercises,” but it developed into a complex, woven piece. At this performance, Kotch, Emelyn Urdahl, Myrland, and Lucas Sverdlen are exacting in their movements. They repeatedly pike and cartwheel. They find unexpected ways to interact with one another; at one point, Urdahl folds her body over Sverdlen as he crawls sideways in downward dog. What prevents the work from feeling like a parade of spectacles is the careful pacing of the choreography and the dancers’ musicality as they linger in postures and port de bras before snapping into the next part of the sequence.