
A familiar scene unfolds in this avant-garde production:
Zane Philstrom's set is a work of stunning beauty, matched only by the impeccably toned bodies of the core performers, who display impressive physical endurance and plenty of flesh while executing Austin McCormick vigorous, baroque choreography. The 75 minute piece is a stylized representation of the story of Adam and Eve and Lilith, who, in some accounts, preceded Eve as Adam's mate but stormed from the Garden because the first man wouldn't try anything but missionary position. From Genesis, the action melts into a dance interpretation of the seven deadly sins, as put forth by fourth century monk Evagrius Ponticus. Trapeze-swinging, gender-bending, and partial nudity abound.
Unlike other dance/theater troupes like Big Dance Theater, which typically uses dance to enliven a narrative, Company XIV's approach here is really more dance/poetry, with a buxom Ring Mistress serving as a sort of dour, whip-cracking announcer of banal aphorisms like, "Good weather is like a good woman. It doesn't always happen and when it does it doesn't always last."