As a preview, we are told the work is about “the helplessness of humans in the face of disaster.” Not being a zombie movie enthusiast, I would prefer to think of the apocalyptic as a vehicle for stunning images, created through the kinesthetically brilliant humans on stage and the supplies of their surroundings. Their helplessness is hard to see. It’s not to be focused on at least.
Two dancers spin with unfocused vision, and partnered dancers are held in shifting flayed positions above the rotating base, their limbs pulled up and out like the full white skirts of a whirling dervish. Whirling dervishes take a vow of poverty in efforts toward humility and simplicity of life. A bit ironic as in this piece they turn, framed within an elaborate and functioning set including two walls, three doors, and movable floorboards dressed up in a disheveled aesthetic, again framed within an ornate theater and ticket prices to be saved up for. A worthy investment, though I am conscious of the contrast.