Columbus’ BalletMet has helped people discover their love and talent for dance since 1976. Besides performing well-known classics such as “The Nutcracker,” “Swan Lake” and “Romeo and Juliet,” BalletMet presents innovative and contemporary dance performances throughout the year like this month’s “Nightmoves.”

“NIghtmoves” has two more performances tonight and tomorrow at 8 p.m. Tickets are $35 and can be purchased at balletmet.org/tickets.

“Nightmoves” was a six-piece performance; a collaboration by six choreographers. Performed at BalletMet’s newest venue, its black box theater, “Nightmoves” included world premieres from its very own dancers, as well as Twyla Tharp’s award-winning piece, “Sinatra Suite.”

The first act started off with “Maestro,” first choreographed in 1985 by Gerard Charles. Set to Benjamin Britten’s The Young Person’s Guide to the Orchestra, Maestro explored the relationship of four sections of the orchestra with its Maestro, performed by Jimmy Orrante.

The piece began with the dainty, light sights and sounds of the woodwinds. The feminine and whimsical costumes in pink and green evoked the playful nature of the spritely dancers. The string section was introduced, showing the deep relationship between the maestro and his string section leader, to the jealousy of the other woodwinds.

Next came the strong brass section in orange and bronze, dancing with the maestro and showing a sort of equality and stable relationship. The percussion rounded out the orchestra with brightly colored costumes and loud entrances. Throughout the piece was a clear dialogue between all the sections of the orchestra, making the story dramatic, yet funny, to watch.

“Sinatra Suite” was next, featuring Adrienne Benz and Jon Drake. Choreographer Twyla Tharp explored the facets of a relationship that a couple can go through. Together, Benz and Drake hit every emotional mark with passion. Overall, the theme expressed strength and trust between the two dancers. The most memorable was their second dance exuding the tension and harshness that relationships face.

The final piece of the first act proved to be a crowd favorite. “Night Music” was a company premiere by Laurie Eisenhower set to Mozart’s Eine Kleine Nachtmusik.

This contemporary piece focused on the fluid movements of the dancer’s body while keeping the audience entertained with its humor. The dancers kept their eyes shut throughout the performance. The six dancers made their way to a couch, where they coughed, itched and roused in unison, tumbling over each other for a parody of sleep.

Act two opened with Maria Glimcher’s “Relevant.” Two long pieces of fabric divided the stage to represent the quadrants of time. Four female dancers delivered a powerful and passionate performance. The dancers’ emotional performance connected well with Clint Mansell’s music, Requiem for a Dream and Together We Will Live Forever.

“In g major,” choreographed by Michael Uthoff, was much like “Sinatra Suite” because it was performed as a duet. While “Sinatra Suite” focused on all aspects of relationship, “In g major” spoke only of love, joy and happiness. The dance was originally created for two recently engaged dancers. Zoica Tovar and Andres Estevez performed the piece.

The show ended with the most contemporary piece of the night: “dwell,” by Adam Hundt. The stage was dark with shadows with strobe effects, as well as video coinciding with the music. The dancers wore black ripped leotards, tights and long tulle skirts. The piece was less about a narrative and more focused on the theme of the performance, which was chosen by the audience.

Before the beginning of the performance and until intermission, the audience was asked to text one of three choices — arcana, bauhaus or cummings — to determine how “dwell” would be performed. The audience was then told the winning selection in the middle of the piece. This audience interaction made “dwell” enjoyable because it linked the audience to a very abstract and contemporary piece, making the piece more relatable.

Each piece in BalletMet’s “Nightmoves” was non-traditional, but still evoked situations the audience could relate to. It was a contemporary contrast to classical works of dance.

BalletMet’s next stage performance will be “The Nutcracker,” running from Dec. 11 to 23.