IT COULDN'T HAVE been easy to be Jerome Robbins in George Balanchine's New York City Ballet, always number two, always aware of the genius of the older man. For an artist as insecure as Robbins was all his life – at least according to Deborah Jowitt's biography of the choreographer, Jerome Robbins: His Life, His Theater, His Dance – it is a miracle he didn't completely abandon ballet for Broadway and the movies, where he got paid a lot more and was very much sought after. Yet Helgi Tomasson, who owes his U.S. career to Robbins, clearly wants to give him his due. In the past few years he has introduced more and more Robbins repertory to his dancers and audiences. In the Night is but the latest to return. You're free to see the work's three couples as very different ones – or as the same one at various stages of their relationship. Whatever you see there, you won't be disappointed by the musicality, economy of means, and opportunities for dancerly interpretations. Also on the program are two pieces that reinterpret classical structure, Christopher Wheeldon's mysterious Rush and Tomasson's Prism, a piece that proves Beethoven can be choreographed in the right hands. Thurs/7, Sat/9, Tues/12, and April 15, 8 p.m. (also Sat/9, 1 p.m.); April 13, 7:30 p.m.; April 17, 2 p.m., 301 Van Ness, S.F. $8-$165. (415) 865-2000, www.sfballet.org. (Rita Felciano)