Fresh Juice

Christina Zani's abun/dance, a solo mix of text with a cyclical movement sequence, suggests a cross between Lucille Ball and Sartre. As Zani enumerates a catalog of what we might find on earth, "there's a large variety of snakes . . . dozens of styles of chamberpots . . . as many problems as anyone could want," she waves, smiles with effusive gregariousness, then slides into less certainty, more torment. Her ending is a gleeful knife-twister.

John Phillips' video of dancers vanishing on revolving planes within infinite architectural spaces is skillfully integrated with live performance in gasp by Emily Sweeney/Perpetual MvmtSndcq, unfortunately. The six dancers huddle and float; magenta pinprick lights descend; grainy close-ups catch their action.

In slip Meg Foley disrupts easy viewing with a large fabric cylinder in the middle of the dance space; we are invited to shift places. Four women dance individually or together in super slo-mo and at hyperspeed. Foley's movement - jackknifes, spooning, "walking" supine with thrusting hips - is robust and quirky.

Zornitsa Stoyanova's piece features a mock-lecturer with PowerPoint linking her actions to principles of physics and philosophy.

Makoto Hirono and David O'Donnell's riff on cultural do's and don't's has buzzers signaling the virtuous and not-so-virtuous as they engage with objects like cigarettes, money and corn syrup.

Megan Sinnwell gives a breezy account of a summer sojourn in Mexico in Erin Foreman-Murray's work, and the two deliver pleasing dance phrases. - Lisa Kraus