Ballet three ways
Eifman’s Anna Karenina, ‘Raw Dance,’ Anna Myer

COMPARED WITH the effusive pyrotechnics of Eifman and most other contemporary dance, Anna Myer’s work is so restrained, it’s almost undetectable. You think you’re looking at something elementary, but it gathers emotional force, through entirely different channels from what were first apparent. Myer and Dancers took over Boston Ballet’s enormous top-floor studio for the weekend while the company members were showing their own choreography around the corner.

Style, versatility from Myer and troupe
Choreographer Anna Myer’s dances build slowly and steadily to dramatic climaxes. In performances at the Institute of Contemporary Art this week, Myer celebrates her company’s 15th anniversary and her own steady growth as an artist. The program includes three pieces: two world premieres and one of her all-time best works, 2004 ‘s “All at Once .” All three showcase Myer’s signature style, her strong visual sense, and her versatility.

Taking it to the 'Street'
Choreographer aims to bring blacks, whites together with a work that combines rap, dance, and violin

Anna Myer's dances are abstract and subtle, sometimes hard for the uninitiated to get a handle on. The choreographer's audiences aren't huge, and they're predominantly white, professional, and artsy.

It may be surprising, then, that Myer's latest production - "Street Talk Suite Talk," at the Strand Theatre tomorrow - is a collaboration among dancers, composer Jakov Jakoulov, violinist Mark Berger, and hip-hop artists rapping about life in gritty urban neighborhoods.

A moving confluence of music, rap, and dance sends a message
Anna Myer may be the gutsiest choreographer on either side of the Charles River these days.

She's got classicism in her bones yet anything but on her mind: Genre mixing, role reversals, a reach-across-the aisle "yes we can" aesthetic - those are the building blocks of "Street Talk Suite Talk," presented by the City of Boston at the Strand Theatre Saturday.