“Within the Frame” loses some steam during an extended pas de deux of two dancers tick-tocking their torsos back and forth over one another, but it regains its dynamism as they speed up, moving through the synth-filled soundtrack. It feels, for so much of the work, that the dancers are exploring all the different ways their bodies could possibly move—I found myself thinking of Noé Soulier’s “Movement on Movement,” inspired by William Forsythe’s Improvisation Technologies.

The second number of the night, Bob Fosse’s “Percussion IV” (1978) similarly mandated a strict adherence to musicality. Performed by Bianca Melidor, the piece is—expectedly—set to a composition by Godron Lowry Harrell fully composed of different percussive instruments. This is classic Fosse. Melidor shimmies, pops up into arabesque, and pulls back her shoulders one by one. She moves with gusto, hitting each accent with precision, yet a touch of softness; her hands often maintain a delicate, airy quality.

The excitement of Fosse’s choreography is so frequently channeled through minute movements—a rapid shaking of the hips, for instance—so a dramatic turns à la seconde sequence near the end of “Percussion IV” feels almost too big for its container. Instead, the little things (like Melidor finishing with an audible “ta-da”) give this piece its charm.

Matthew Rushing’s “Beauty Chasers,” another 2025 piece, takes a lyrical turn across five tracks, with dancers Brown, Morgan Clune, and Michele Dooley evolving as the work progresses. In the beginning, each dancer gets their own moment, washed in golden light. There’s a floral quality to their movement as they each seem to blossom through their extensions and port de bras. Twisting around their torsos, they look like perennials caught in an April breeze.

The mellifluous choreography speeds up as the dancers curl their legs around in attitudes and billow their shoulders. The music, too, transforms—transitioning into jazz, with an eastern influence with Alice Coltrane’s “Journey into Satchidananda.” With each passage of this piece, the three dancers add to their costumes, each finishing the work wearing a beaded harness and flowy pants. This ritualistic dressing, and the open chested, rhythm-forward movement that increases in urgency, tips “Beauty Chasers” into deeply spiritual territory. It’s an entrancing kind of prayer.