Moving to a Disco Beat, or the Clatter of Household Objects

For “This home is us,” Mr. Spence transported objects from his and Ms. Kotze’s homes into the performance space with the intention of creating a third one — inhabited by the performers and the audience — in the theater. The stage was bordered by mugs, a teakettle and even a low wooden table. (Sadly for the audience on such a humid, airless night, he didn’t bring any fans.)

Masking tape was used throughout the piece: The dancers taped lines on the floor to mark territory, and those stark shapes frequently mirrored the elongated precision of Mr. Spence’s and Ms. Kotze’s extended legs and arms as they seemingly sketched geometric patterns onto the air.


Stacy Matthew Spence, center, with Jesse Stiles, right, in “This home is us,” at Danspace Project.

Michelle V. Agins/The New York Times

But the choreography also had a wallpaper effect — ordered, handsome and monotonous. The piece’s sound component, featuring electronic musical instruments designed by Ali Momeni, was its most tactile element; performed live by Mr. Stiles and Mr. Menzies, it included household noises, like the rattling of wooden hangers or the pouring of water into a cup, alongside the “Chipchestra,” a hybrid instrument used to record and amplify sounds.

Ms. Boulé, in “The Monomyth,” opted for disco. (Curtis Tamm’s sound design also included electronic noises.) At the start, she walked stealthily onto the stage, a contrast to how slowly she raised her arms slightly behind her back to an empowering, percussive beat.

They were her wings, but she couldn’t fly. Ms. Boulé’s feet, parallel yet staggered, were planted in place while she rocked back and forth. It was hypnotic — she can make simple acts appear virtuosic — but soon her face got…

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