The nutty subtitle is suggestive, but let’s be clear, Ruby Red Cabaret Dances: Mixed Nuts, on view at the Neuroscience Auditorium, is not a nude version of The Nutcracker.

It is a sexy, intelligent, and darkly humorous production, but the Mixed Nuts has nothing to do with porn, or the lame Steve Martin film of the same name - or that touring comedy show in New England.

This year’s Ruby Red Cabaret Dances has everything to do with enduring success. The production over three nights celebrates the intrepid San Diego Dance Theater’s 40^th season.

And here’s where the mixed nut premise comes in. The program features repertory favorites by artistic director Jean Isaacs and acclaimed dance/theater choreographer Joe Goode, and a world premiere by Gabriel Masson.

In the excerpt from Goode’s I Don’t Want to Be There, dancers reveal an impressive range of talent and become immensely likeable movers and actors.

Liv Isaacs-Nollet instantly captures ones attention as the glamorous and snobby narrator.

“Lonely, lonely, I know a few details about that,” she brags, before sipping a glass of wine and cooling her face near an electric fan.

All the while, dancers respond with athletic lifts. They want to connect and embrace, but avoid direct eye contact and stare past each other.

Goode’s layered design forces the viewer to choose what action to watch which makes the piece interactive.

Anthony Diaz starts out quivering about his sad lot in life – it is truly pitiful - but he quickly shifts the tone. His soliloquy about being a prairie woman and wearing prairie skirts is hilarious and starts a whole new dance sequence.

Goode created the full multi-media version of I Don’t Want To Be There for Dance Alloy Theater of Pittsburgh. He gave Isaacs’ company the juicy excerpt back in 2008. It is rewarding to see how strong the troupe has become since then.

You can’t take your eyes off Minaqua McPherson, the hypnotic loner in Gabriel Masson’s premiere One Among Many.

As the outcast struggling to fit into the group, she runs in circles until she’s dazed. Men and women cross her path, but ignore her. Their white and blue clothing evokes a clean, beach-like scene. Handsome yet wounded, they must drag their stiff legs into walking position. They plod on with both hands on one hip.

McPherson tries to mimic them, but she can only stare out into the theater, a simple yet powerful image that is heartfelt. She is destined to be alone in a crowd.

Masson created the piece for Company dancers during a residency in December. Viewers should anticipate seeing encore presentations of this new and promising work in progress.

By George/By Jean, a full-length variety show by Isaacs, premiered at last year’s Cabaret show and is a crowd favorite. The ideal viewer is one who adores the music of George Gershwin.

The piece includes more than a dozen songs. Isaacs deftly mixes up the styles and emotions. While it is mostly light-hearted entertainment, several familiar songs become fully realized dances that are deeply engaging; the result is that one will hear the lyrics in a new way.

Pianist Steve Baker’s arrangements have a breezy crispness. The sound quality in the Neuroscience building is excellent. (Go Online to discover the acoustical details of the building).

Matt Carney and Alana Burree twist and slide over each other to form a single human lounge chair in “Embraceable You.” Another highlight is “My Man’s Gone Now,” a mysterious duet (for Blythe Barton & Minaqua McPherson) that explores a woman’s grief.

Vocals tickle the ear, with one exception. Timing is choppy in, “Let’s Call the Whole Thing Off,” in large part because of staging. Baker and Rachel Drexler can’t see each other so there are gaps in the musical conversation. Isaacs-Nollet and Katie Harroff also offer vocals.

The production runs about 90 minutes, with two pauses and no intermission. In future productions it wouldn’t hurt to trim a few of the numbers, such as one with a drum kit, one with odd pantomime that (spoiler alert) suggests smoking a joint .

If you are a guitar aficionado, sit up front to fully experience Fred Benedetti’s smooth performances. The same goes for Baker’s solid piano work.

And do not miss the Gershwin finale. “I’ll Build a Stairway to Paradise” is a big syncopated chorus line that allows the entire company - Blythe Barton, Annie Boyer, Alana Burree, Matt Carney, Anthony Diaz, John Diaz, Trystan Loucado, and Minaqua McPherson - to really cut loose with splendid kicks and shimmies.

Ruby Red Cabaret Dances: Mixed Nuts continues on Sunday, January 15at the Neuroscience Auditorium.

Unlike previous Cabarets, the venue does not have space for café tables inside the auditorium. Pre-show buffet is available. Cash bar is set up outside in the courtyard.

Program here