“Show Pony” is followed by “Prelude to a Kiss” by Lar Lubovitch, which takes its simple premise (a prelude to a kiss) and executes it, to Duke Ellington’s song of the same name. In this duet performed by Alexandria Best and Elliot Hammans, the possibility of a lover’s shape and the many intertwinings that can happen are explored through innovative structures between the two dancers. Lubovitch also captures the dizziness of being caught up in a lovestruck moment—in this case, Best being lifted and dipped overhead by Hammans. It’s slow and sexy. 

And then it’s onto the big reveal of the night, Hubbard’s exciting collaboration with stager Linda Haberman to recreate “Sweet Gwen Suite” by Bob Fosse and Gwen Verdon. HSDC are currently the only dance company in the world with a Bob Fosse or Gwen Verdon work in its repertoire, due to partnering with the The Verndon Fosse Legacy, of which Haberman is a key part. As the red curtain opens on an even redder backdrop, highlighting the three dancers’ starkly lit cowboy hats, the audience cheers in anticipation. “Sweet Gwen Suite” juicily lives in the camp Hollywood glamour of the tightly clothed cowboy set against a never-ending expanse. Add on exquisite musicality, dastardly good jazz technique and any opportunity to shake, wiggle and strut, and you have yourself a party. Never overstaying its welcome, this structurally simple but visually and choreographically rich short trio is a joy to watch for Fosse aficionados and new converts. Dancers Dominick Brown, Aaron Choate and Cyril Topete give it their cheekiest all.