Within this environment a team of four women, each costumed in different solid color sundresses of red, pink, navy blue, and turquoise designed by Deganit Shemy and Denisa Musilova frolicked erratically while toying with the giant yellow tube. In what appeared to be a game of "dare" they taunted the tube, and slyly kicked it to make it appear to lurch at them like a hungry, eyeless monster.

Not long into the "game" a man, dressed in white, popped up behind the backdrop pool picture like an extremely tall jack in the box or maybe a man shot from a cannon; perhaps that was the point. Michael Ingle's explosive introduction, led calmly into his joining Denise Musilova, Sevina Theodorou, Elyssa Dole, and Rebecca Warner in more junkyard play of child-like games.

After the man appeared on the scene, the dance patterns shifted and became mostly three women together while Ingle and Warner partnered, although repeatedly through out the performance, like a reoccurring chorus line, the five danced together in a jittery unison to the same selection of polka/klezmer music, sourced by sound designer Jim Dawson.

The structure of the dance did not connect. The setting gave the feel of a Playland designed kibutz complete with faux protective fences with a stone-like plinth that gave the place some gravitas, some connection to the rocky "settlements" that are pictured in the New York Times. Most often appearing like children at play the dancers sometimes morphed between those children moving out of phase with each other, to romantic partnering and heroic lifts, to stoic "settlers" who had to press on within the confines of their demarcated plot of land.

So, we were offered snippets, each of which suggested certain meanings of community relations and co-operation, interspersed with frightened frenetic gyrating, intermixed with tender duets.

In the end, the couple posed stoically center stage while the three women prance around them in maypole fashion and then off into the wings, leaving the couple, statuesque and sublime.