The new ballet “Blake Works I” appeals most strongly to those in teens and twenties. Its James Blake songs are stripped down and quirky, and the moves are in very modern ballet, with a lot of hip wiggling and squiggling rarely encountered at the San Francisco Ballet. To say nothing of marionette-like parading.

But this opus is far more, with the angular, novel and nimble nonstop of hands and arms, as fast as the eye can follow and sometimes knotted up, and above all the complexity of formations in neatly contrasting lines by a sizable cast of 20-plus—a characteristic of choreographer William Forsythe, one of the hot dance-creators in Europe for the past generation. Forsythe brings to mind military masterminds of strategic maneuvering in a different field. Think Napoleon, Erwin Rommel or Gen. George S. Patton.

If at times the ensemble looks like so many automatons gesticulating lickety-split, well, this is the age of artificial intelligence, and of robots doing everything, maybe even brushing our teeth and procreating. Is the right title “Blake Works” or, more appropriately, “Bot Works?” The trend is inevitable. If the human element on stage was short-changed, you wouldn’t know it by the concluding audience reaction, with half the house standing and shouting bravos. We are into a new era, and we’d better not forget it.

The central role in “Blake” is Sasha de Sola, in solo as well as in capricious pairings, as fine a bot as on any one’s dance roster.

Once again the SFB unveiled a program (No. Two this time) of two traditional pieces and a third quite modern and arresting. The performers are not only smartly drilled but also reflecting great depth, as if any anonymous corps member could jump in instantly for a lead who steps away.

The Jerome Robbins oldie “In the Night” is an exquisite minimal foray serving up just three couples, separately, moving to Chopin’s solo nocturnes on piano. The highlight on Feb. 9 was the dramatic subtlety and outright passion of Dores André, producing smoldering fire opposite partner Steven Morse.

Given the contrasting demeanor and personalities of the three couples, this is a highly effective work. But it never belongs in the vast confines of the Opera House; an intimate site like Herbst Theater next door would fit it far better. The pianist, hobbled by less than ideal amplification, was Ms. Mungunchimeg Buriad.

The evening opened with “Caprice,” a routine traditional ballet but for one feature: Every last dancer, leg and leap moved in perfect harmony and unity. Once more SFB Director Helgi Tomasson, in this his valedictorian season, showed his steady leadership talent, along with a readiness to bring in others like Forsythe having a more contemporary bent.

I hope that prior to the end of the run this weekend, conductor Ming Luke succeeds in reining in the overexuberant brass section of the pit orchestra.

Taking over the troupe after Helgi’s retirement in summer is the Spaniard Tamara Rojo, 47, a principal and artistic director of the English National Ballet. She will be the first head of the 89-year-old SFB having earned a doctorate degree, as Doctor of Arts, as well as the first female artistic director ever.

S.F. BALLET, Program Two, Opera House, San Francisco, through Feb. 13. For SFB info: (415) 865-2000, or go online:
https://www.sfballet.org/productions/program-2.