“Raindance,” the first premier, to music by Blue Man Group, was a joyful expression of the ecstatic human response to water in a desert land. Wearing silky raincoats, the dancers whirled like spinning children, whipping the coats around their heads and bodies like manic wind socks. These were games in the water first, and then in the second section, each body was cocooned in a raincoat. They became underground seeds pulsating with life, gradually opening and reaching out to the moisture.

Adams’ solo “Tuning the Silence” was danced in total silence. Hands and arms seemed to pull invisible strands from the air, like vibrating strings unheard by human ears. At one moment her arms and torso described wavelike curves, side to side as though following a hidden melodic line.

“Freakshow,” danced by Eberle to a song by Ani DiFranco, was newly choreographed by Curtis Uhlemann. Intense, sometimes frantic gestures involved isolations of body parts that moved often in opposition to each other. It was a statement of disjointed agony performed with precise attention to detailed articulation from fingers to toes.

“Knowing,” an Adams solo from 2000, was performed on a sculptural construction by Ken Apt at center stage. The body, seated backwards on the structure, was covered in black, except for a bare back which was lit from below. Ribs, scapulas, shoulders and connecting muscle structure writhed in distinct patterns as the body appeared trapped within the sculpture. There was a hint of Middle Eastern female restriction here, emphasized by the music of Rachel Portman and Jami Sieber, although it was never blatant.

“The Bach Project” excerpt, scheduled for a premier in summer of 2007, was a duet danced from a diagonal line upstage towards the cellist downstage left. Adams and Eberle moved together in an opening motif that torqued the upper body on a sideways curve, then moved into long diagonal body reaches and spiraling turns. A second movement took the same material and moved it at a faster pace in space, returning at the end to an exact repetition of the primary motif. Marcel then completed the musical portion with a skillful and dramatic scherzo alone on stage.

The final premier, “The Minutes,” was an amazingly unified structure of sixteen one- minute fragments from dances by sixteen different choreographers and musicians. Adams and Eberle, Rulan Tangen, Jennifer Tarver, Lisa Gulotta, Roger Montoya to name a few, and music from the Baka Pygmies of Cameroon, Papua New Guinea, Chick Corea, a Bulgarian folk ensemble, and a delightful movement conversation to Danny Kaye-like babble by Raja Chatrapati Singh of India.