Texture Contemporary Ballet plays a multisensory mixtape

It’s a little bit country, a little bit rock ‘n roll -— with some Coldplay, classical and Vanilla Ice mixed in for good measure.

To open its seventh season, Texture Contemporary Ballet’s “Resounding Sound” tapped into our visceral and emotional connection to music — along with some fine dancing. It continues through Sunday at the North Side’s New Hazlett Theater, with a special children’s performance on Saturday afternoon.

By now, artistic director Alan Obuzor and associate artistic director Kelsey Bartman have proved that Texture is no one-trick dance company. The troupe constantly reshapes what ballet looks like and, in this case, sounds like. This time, that made for an enticing multisensory mixtape of eclectic tunes and moves.

Several shorter — but no less interesting — works followed. Ms. Vogel and Mr. Obuzor were a polished pair in Henry Steele’s “Tandem” (Gerald Finzi score), which channeled the romance, drama and exquisite technique of a story ballet without all the bells and whistles.

Next, in “Song for Viola” set to Peter Bradley Adams, Texture veteran Alexandra Tiso covered the floor in lovely shapes and lofty jetes for her self-choreographed contribution. It’s been fun to watch her blossom into such a dynamic dancer.

Then, Ms. Bartman, Ms. Kendall and Mr. Obuzor brought humor and heart to the stage in the revival of “Ice Ice,” danced to a Vanilla Ice-inspired compilation by Gabriel Gaffney Smith. Each sported one pointe shoe and one combat boot for this street-meets-ballet hybrid.

Katie Miller and Sean Sessions struck the right balance of sensuality and strength in their evocative duet “Lacrimosa” (Bartman/ choreography) to the robust instrumentals of Polish film/television composer Zbigniew Preisner. Dancers picked up the pace in “Allowing at most, a Caryatid,” a quirky, sockfooted ensemble work that Ms. Bartman did to a Mr. Smith composition, combined with Coldplay.

A toe-tapping send-off came courtesy of “Tell Me It’s Not Too Late” by Mr. Obuzor, with live music by Pittsburgh indie rock/pop band Meeting of Important People. Despite a couple technical snafus, it was a high-energy finale that was pure joy to watch.

Texture never skimps. The downside is sometimes its everything-and-thekitchenlineups feel a bit lengthy and disjointed, not allowing audiences to really settle in and get lost in the dancing between the pauses and intermissions. The upside, though, is people get their money’s worth. Plus, it means Texture is bursting with creativity to share — and that’s a good problem to have.