In Everything and Nothing, choreographed by Alexis Fletcher, abstract narratives intertwined with evocative poetry, creating an ethereal atmosphere that invited introspection and self-discovery. The dancers moved with poetic grace, their bodies speaking in silent verses that captured both vulnerability and strength. It felt as though they were not simply performing, but channeling something ancient and universal. There was differentiation, but no division. They moved like wind and water- individual, yet united, embodying the interrelatedness of our sacred earth.

Then came STATERA, choreographed by Fernando Hernando Magadan, with a stunning original score by Ben Waters. A massive dark stone anchored one side of the stage, while a floating house drifted across a pendulum arc. The entire set moved with the dancers—amplifying the tension between groundedness and transience. The visual design alone could’ve held the stage, but the dancers made it breathe. It felt like a cosmic inquiry into existence beyond the body—into time, vulnerability, and transcendence.

Each performer gave everything. Their commitment, control, and emotional range was nothing short of extraordinary. The depth of embodiment, the subtlety of connection, it was masterful. I was mesmerized by the way they revealed layers of themselves with each gesture, as if seeking to understand the truth of who we are. The red lights of the mysterious stone transformed the unknown into aliveness, and the entire experience became a meditation on presence, impermanence, and the mystery of being.

The standing ovation was more than deserved, it was a collective exhale. A thank-you from every soul in the room. UNIVERSUS is not just a dance production, it is a somatic journey into the depths of the human spirit, urging us to embrace our inner truths and find beauty in the impermanence of it all. I left profoundly moved, reminded that we are all orbiting the same mystery, and sometimes, if we’re lucky, we get to feel it move.