3e étage not your typical night at the ballet

Murez may not have edited the overall program much, but he shows no mercy with the individual dances. Many of them end almost mid-thought, tantalizing teasers, seven of which are choreographed by him (two under a pseudonym, Raul Zeummes). The program’s other works - Richard Siegal’s staccato and casual quartet “For Hands’’; Ben van Cauwenbergh’s solo (danced Wednesday with insouciant wizardry by François Alu) “Les Bourgeois’’; and an excerpt from William Forsythe’s almost chilly “Limb’s Theorem’’ - are mixed in and marched briskly by.

If the pieces inevitably blur in the process, the dancers, with their exceptional clarity, don’t.

The opener, “La Valse Infernale,’’ evokes a ballet class, but Zuemmes (Murez) skips the barre work and shoots his dancers out at warp speed. The stage glows with the unmistakable authority of serious classical training. The two women (Ludmila Pagliero and Laura Hecquet) and three men (Alu, Allister Madin, and Simone Valastro) turn and jump like indefatigable tops. Because the men jump with huge ballon, there’s time to see the craft in their entrechats and coupè-jetès. The women’s taut, crisp legwork is complemented by the fluid curve and carriage of their upper bodies.

“Valse’’ is a follow-up to Zuemmes’s 2006 “Quatre’’ (on Wednesday performed as “Trois’’ because of an injury), an even more unabashedly bravura turn for the “Valse’’ men, although this time they are wearing a bit more costume. Pompously empty gestures playfully send up everything that can be wrong about ballet, and more thrillingly in-the-moment dancing demonstrates everything that can be right about it.