The work can be viewed as specific snapshots from these various people’s lives, or collectively the solos may reflect the totality of a single life with its shifting emotional moods. In the latter case, the names, perhaps, become the people who have generated the response in the protagonist. Heppner as a choreographer is fascinated by both the whole physical cloth of dance as well as small details. The 14 solos range from Segawa executing highly energetic athleticism to almost slow-motion minimalism. The audience is kept abreast of the names of each solo by surtitles, which informs how we view the dance itself.There is also a parade of slides that splash over Segawa containing patterns of oriental carpets that also dictate mood.

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Clearly, Heppner wants to direct us in our focus. Segawa is a compelling performer. She has a compact body that couples easy physicality with natural grace, but she can also play with gravity – at one point, she’s as light as a feather; at another, she’s weighted down by the pull of the Earth itself. Her subtle facial expressions play an important role in the piece. With just the hint of a smile, or a wider opening of the eyes, she can convey an intriguing shift in her interior monologue. As wonderful a dancer as Segawa is, she did at times overbalance and lose some of the crispness of her attack, particularly in changes between movement patterns, but this made her all the more human. Music also plays a key role in the performance. The compilation score includes early music, folk-inspired world beat, flamenco guitar, Indonesian gongs and abstract electronica. Silence as a backdrop is also used. Segawa also changes costume either by donning a whole new set of clothes, or by rolling up pant legs or taking off layers of tops. Thus each solo preserves its own individual integrity through movement, music (or lack thereof) and visual attributes. The solos each have their own movement leitmotifs. For example, Chin’s burden is executed with arms tightly folded across the chest and almost slow-motion physicality. In Galih’s present, Segawa loosens her body to embody a gangling teenager. Here the choreography is all about stamping of feet interpolated by fast and furious swivels. Sue’s desire is manifested by sensuous writhing on the floor, the legs slicing in scissor cuts.

Perhaps the most interesting aspect of the work is that Heppner plays with her own choreographic signatures, those telltale repeating physicalities that hallmark a creator. They are the movement themes, but they are also the variations. The great swoop of arms, the high kick of one leg, the bent body turns, for example, are always present, but are assembled differently in each solo.

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It is as if Heppner is deliberately saying, “Here I am as a choreographic writer and this is my vocabulary.”