On Saturday night at the Joyce SoHo the cast also included Tim Barnes, a guest percussionist, and their program made immobility and silence as important as movement and sound. The two pieces offered took their titles from the surnames of the participants.

Using a bow and his fingers, Mr. Roebke coaxed what were sometimes scarcely audible sounds from his bass in "katoroebke." Even though there was a passage of vigorous leaps near the work's conclusion, Ms. Kato's dancing was usually deliberately small in scale. At one point she even vanished behind black curtains and remained invisible until, at last, only an arm came back into view.

Playing various drums, cymbals, rattles and bells, Mr. Barnes joined Ms. Kato and Mr. Roebke in "katoroebkebarnes." Here Ms. Kato's dancing often emphasized contrasts in speed with, for instance, sudden hops, but she also took time to balance on one leg.

At times the performers appeared to be lost in a totally private artistic world. Fortunately, there were other moments when their improvisatory inventiveness let fascinating sonic and kinetic forms arise out of nothingness and then return to it. And this sense of transience was emphasized by the way Megan Byrne's lighting made the shadows of Ms. Kato and the musicians constantly loom and dwindle on the walls.

Source: NY Times