Cedar Lake Contemporary Ballet’s 16-member ensemble isn’t allowed to think small in its current program. Totalitarian apocalypse, as well as the origin and evolution of species, are treated in the company’s triple bill. It opens with Jacopo Godani’s “Symptoms of Development,” which was given its world premiere by the company last year. The title is ironic, for the scenes here described are anything but indicative of positive evolution. Commands descend from on high or bounce out of the equally omnipotent walls via hand-held microphones. Mr. Godani’s staging makes use of the company’s wide-open performance space. There are lots of special effects: The dancers’ bodies become projection screens for countdowns to doomsday, and strobe lights fragment stage reality further. The soundtrack, by Ulrich Muller and Siegfried Rossert, features heavy breathing, jet-propeller suction, and Orwellian speech exhortations. The movement admits no end of double-jointed spirals and swivels. “Symptoms” is fast and furious, even with frequent freeze-frame full stops. It collars the audience, but the assault is meant to teach us a lesson.

Next is “Ten Duets on a Theme of Rescue,” choreographed by Crystal Pite. Five dancers perform within a circle of klieg lights arranged on tall poles that suggest a desolate mountaintop, a prehistoric cromlech. The dancers shift the lighting poles to evoke a migrating moon. Ms. Pite lets “rescue” jumble around in her imagination until it is choreographically disgorged in ways that let the theme be submerged and resurface in different and sometimes unexpected appearances. The overlapping duets begin with two men dancing something between contact improvisation and jujitsu. A man and woman walk out as one of the first two men is pinning his partner to the ground. Upon their arrival, the aggressor runs off, followed soon by the almost-vanquished second man.

Throughout “Duets,” the dancers attend to each other. A man is seen running in place while clearly trying to overtake an elusive woman. There’s a duet for two women; there’s another duet cum trio in which we see a man and woman grappling while a second man sits in lotus position facing upstage. The five dancers return back onto the stage with different partners. “Ten Duets” spools out long enough to stay interesting. The duets are performed to a rising tide of sounds from Cliff Martinez’s soundtrack to “Solaris.”

Stravinsky’s “Sacre du Printemps” has been choreographed again and again in recent years, surprisingly so, given how familiar the music is and how much it dictates kinetic content. Nevertheless, the attraction may be to a millennial stocktaking. Cedar Lake has chosen Stijn Celis’s “Rite” as the closing ballet on this program. Performed to a recording of the score’s piano reduction, Mr. Celis’s “Rite” was first presented in 2005 by the Bern Ballet of Switzerland. The nine dancers, men as well as the woman, are costumed by Catherine Voeffray in cutoff sarongs with wired trumpet hems and raccoon-eye makeup. The unisex costuming gives them a patina of species-wide camouflage. And we get a lot of bestiality here: A man scooting on all fours and a hunkering woman kick off existence with a bang. Calls of the wild punctuate the dance, and one of the most characteristic motifs is a kind of speed walk crossed with animal imitation. Women and men frequently travel in packs.

The decor consists of pillars, whose arrangements change as the performance proceeds. They are toppled to the ground or raised up to suggest furniture or a catwalk or simply an existentially demarcated universe. They enable the herd behavior of the dancers. When one woman and four men sit facing opposite corners, they could be birds on a telephone wire or inhabitants of an elementary school cafeteria.

A likely sacrificial victim does appear, but Mr. Celis attempts to avoid the customary culmination of “Sacre” in the self-immolating Chosen Maiden’s dance. She is only fitfully present throughout her solo music, until this colony achieves renewal when she reappears alone and undergoes labor-like spasms and contractions.