As for the music they danced, there was Louis Dufort’s remix of voice tapes of Glenn Gould talking about Bach’s Goldberg Variations—Gould coming across sounding at various times like R2D2, 3CPO, and Darth Vader all on acid. Sometimes you could hear Gould playing his unabridged versions of Variations 5, 6 and 8, and sometimes there was Dufort’s remix or ‘variations’ of Bach’s Variations. But with Marie Chouinard herself looking after lighting, set design, and props, all elements integrated into a flawlessly tasteful spectacle.

When the dancers wore pumps on their hands they looked like a flock of flamingos. When they wore harnesses with strings attached that were pulled by other dancers, they were puppets. A dancer climbing supine on a frame of five parallel bars was musical notation.

The remix of bodies to incorporate metal poles, straps and wheels while working together performing repetitive sets of movements mimicked the stark beauty of the movements of machine parts on an assembly line. The mechanical parts provided a kind of structure which enhanced the fluidity of muscle and bone animated by oxygenated blood.

What does it all mean? It means if Marie Chouinard and her dancers can play with anything that comes into their world, so can the rest of us, if we want.