CHOREOGRAPHER JOE GOODE describes his new Grace as revealing the "extraordinary in the seemingly ordinary." What may be true for this piece surely also applies to the rest of this remarkable artist's work. There's a long tradition in American literature – Tennessee Williams, Carl Sandburg, Walt Whitman, to name a few – of discovering nobility in the commonplace. I can't think of any other dance maker who even comes close to Goode in that respect. Who else but Goode would find Sisyphus in a street sweeper, as he did in 2002's Mythic, Montana? Maybe that's why his work is so uniformly admired: it speaks to us about ourselves in a language that we recognize, even if we don't speak it. It's an immensely flexible language, by the way, whose various components shift around depending on Goode's needs. Sometimes dance trumps language; sometimes it's the other way around. Expect music to play a prominent part in Grace, for which Goode hooked up with fusion composer Mikel Rouse, who has turned from rock to opera and also performs as a member of the cast. Grace is the second section of a planned trilogy, and part one, 2003's Folk, returns on this program. Music for Folk was written by the marvelous Beth Custer. But who I'm really looking forward to meeting again in Grace is Marc Morozumi's Snake Boy character. Thurs.-Sun., 8 p.m., 700 Howard, S.F. $20-$35. (415) 978-ARTS, www.yerbabuenaarts.org. (Rita Felciano)