Kind, in collaboration with dancers Maddie Hopfield, Chloe Marie, Chelsea Murphy, Dylan Smythe, and Elizabeth Weinstein performed an often nicely understated pastiche of seven works that linked together like a mixtape.

Kind’s opening improvised solo to Marquise nearby live clarinet rendition of a reconstructed, yet easily recognizable, version of Csardas Pour Plombinette derived from Hungarian folk dances still performed today. Kind matched Lindsey-Bradley’s notes with arm and upper body movements like a conductor. But it soon became apparent these movements went back to Waacking, a queer West Coast club style from the 70s that may have a relative to what we’d call on the East Coast, Hand Jive.

Enter Dylan Smythe on what seemed a tambourine  who seems to melt away as Chelsea Murphy joins Kind seated down stage on boxes. They improvise movements to Fiona Apple’s “Every Single Night.” The next work flowed out with Chloe Marie joining them to Tierra Whack’s amusing shower song. Marie was a striking addition that began to reveal that although each of these dancers were well-matched for this program, they retained their individuality. The good news here is that facial expressions are back and made this dance even more enjoyable.

I was pleasantly surprised that Kind, a Boston transplant to Philly, had dug deep enough into our phenomenal musical culture to next take a 180 turn to organist, Shirley Scott’s “Until the Real thing Comes Along.” Here Maddie Hopfield and Elizabeth Weinstein join Kind, Smythe and Marie that began with each entering, a bowl in hand, and sitting down on black boxes to a lazy morning breakfast of champions, pouring cereal and milk and taking a few spoonsful. This sends them off into a cool jazz line dance that derived from Shim Sham, but I felt some Pina Bausch going on too.