Pacific Northwest Ballet’s ALL LANG, which runs at McCaw Hall through June 7 (tickets), ends a strong season with a big ole jazzy bang.

The evening features three ballets from the company’s resident choreographer, Jessica Lang, that show the breadth and depth of her talent alongside the tremendous range and skill of PNB’s dancers. We’ve got sweeping, expansive, colorful abstract stuff! We’ve got dark, brooding, shadowy serious stuff! And we’ve got big, brassy, bold fun stuff!

It’s a show with a little something for everyone that nevertheless holds together thanks to Lang’s singular vision, the close relationship she’s built with these dancers over the years, and also PNB Artistic Director Peter Boal’s program selection.

The evening began with “Her Door to the Sky,” an homage (or, I guess, a femme-age) to Georgia O’Keeffe’s Patio Door series, which shows New Mexican light dressing a single square door with various hues. Lang’s balletic interpretation of those paintings faithfully reproduces O’Keeffe’s square hole washed in morning, afternoon, twilight, and evening light as dancers in Bradon McDonald’s watercolor-colored outfits dance in and around but never quite through the doors.

PNB Principal Elizabeth Murphy, who will bow out after the season’s Encore performance this Sunday, stood out in the third movement, which featured her in a peach and rose-colored costume softly floating around five male dancers like spring’s last blossom dropping from some grand flowering tree before reluctantly — and then finally triumphantly — reaching the earth.

Soloist Kuu Sakuragi, who has been making a strong case for a promotion all year imo, continued his winning streak with one of two absolutely stunning solos this evening. In this one, he executed a zillion spins at the speed of light.

All told, the ballet is lovely to look at, but the color palette so strongly recalled Edwaard Liang’s “The Veil Betwen Worlds” (which, to be fair, premiered years after this piece) that I kept wanting to see some big silken sheet fly across the stage, or more soaring choreography, but instead I just kept seeing a lot of squares punched out of an adobe wall just kinda sitting there in the center of the stage.

After the colorful lightscapes of “Her Door to the Sky,” Lang plunged us into the black-and-white world of “Ghost Variations.” PNB’s longtime pianist Christine Siemens sat behind a piano onstage and played the titular music from Robert Schumann woven together with complementary compositions from his wife, Clara Schumann. According to the program, Schumann “believed he was visited by spirits of composers who dictated a theme to him — unaware that it was a melody he himself had already created” and dedicated the resulting piece to his wife.

In a nod, perhaps, to Schumann flickering between the real and spirit worlds during this period, Lang and lighting designer Reed Nakayama played with shadows throughout the performance. Sometimes a dancer would dance across the stage with their shadow flung large on the backdrop, and then suddenly the shadow would spin away and do its own thing separate from the body casting it. Or in another case, during Sakuragi’s second mind-bending solo of the evening, he danced with like six or seven of his own shadows behind him. (An army of Sakuragis would be truly formidable in its speed and power.)

Those clever little moments raised deep questions about the self, love, and possible futures. What would it mean for your shadow to abandon you, or for you to abandon your shadow? Who would you be if you’d made a different choice here or there? And is a ghost of a famous composer feeding you melodies, or is it a past self you forgot about, or is it your loving wife — and is there really much of a difference?

Joking aside, the concluding duet between Principals Dylan Wald and Elle Macy added emotional heft to these abstract queries, and involved some of the best dancing I’ve seen on that stage in my ten years of reviewing ballet at PNB. Just exquisite, tender, mournful movement executed with Wald’s and Macy’s signature precision and elegance. I would have stood up and shouted “RUN IT BACK” if I weren’t fighting a tear.

After the deep introspection of “Ghost Variations,” the company hit us with the PNB premiere of “ZigZag,” a swinging, jazzy, big-band number set to a bunch of Tony Bennett songs. Given the music choice, I assumed Lang and PNB were aiming to pitch this one at the older crowd in a bid to stir up high school dance nostalgia, but I was flat fucking wrong.

This ballet pumped out pure joy and exuberance of the kind one rarely finds at the ballet. Every dancer started at 11 and stayed at 11 the whole time. Every member of that opening-night cast deserved a standing ovation and got one. Is it even worth calling out the charm and sheer technical prowess displayed by principals Angelica Generosa, Sarah-Gabrielle Ryan, and Christopher D’Ariano? Should I even mention how impossibly smooth Wald looked leading “I Left My Heart in San Francisco,” or how corps de ballet members Noah Martzall, Melisa Guilliams, Kali Kleiman, Larry Lancaster, Emerson Boll, and Luca Anaya danced with enough electricity to power McCaw Hall for a decade? 

Caption: The color scheme smartly fused the palettes from the first two ballets, pairing the color of the first one with the black-and-white scheme of the second one and electrifying both.

With this production, you really got the sense of the company in its imperial phase, led by a choreographer showing off her versatility, her deep love for Bennett’s music, and the power of dance to breathe new life into it. It was the kind of show that really makes you believe the old saw about performance being so special because it only happens once before evaporating into the evening. You just really had to be there. Luckily, you get a few more opportunities this week. You’d be crazy not to take at least one of them.