The William Forsythe triple bill that the Ballet de l’Opéra national du Rhin brings to Paris in late April sold out months ago. What’s left for the seven shows are standby seats. The reasons are obvious—Paris, Forsythe, short run, the reliably excellent dancers of France’s well-funded regional troupes. Also, the program is not just typical Forsythe but post-Balanchine ballet’s most radical experimenter in full. Each of the three pieces plays differently with classical steps, the traditional stage, and us. The chill ensemble work Enemy in the Figure is all about what you cannot see, which is a great deal given a high, undulous wall that runs from wing to wing and the deep shadows flung across the stage. Even the rhythmically infectious electronic score, by Thom Willems, seems to bleach color more than admit it. Trio and Quintett are full of romance. The somewhat acrobatic threesome is cheeky—the dancers seducing the audience by manipulating each other. Quintett bypasses romance to leap straight into love, the dancers spinning, collapsing, and bounding into one another’s arms. The piece brims with so much confidence in love’s everlasting joyousness that it makes you want to cry. —Apollinaire Scherr