Some of these skits soldier on a few beats too long, the obstruse exploits and zany decrees landing awkwardly. A certain tension breaks when the cast is allowed to dance without interruption, the choreography channelling the silky vitality of the set and the soundtrack, which drifts from ambient (Cat Power) to glorious (string quartet) with surprising ease. The highlight for me was a series of sculpturesque solos danced in the rain, spirals of motion accented with arced chests and curlicue port de bras. Veteran company member Ditta Miranda Jasjfi gives a rapturous showing, spinning with the fury of a whirlpool, while Emily Castelli stoops to gather air in her strong arms, a dusky, primal mover. Naomi Brito’s jolting performance—delivered while the men of the cast slosh water at the boulder behind her, the liquid striking its hard edges with an audible ‘slap’—is especially entrancing.

The full ensemble only unites in the later moments of the piece, first in body-rocking call-and-response number and then in a swaying slow dance performed in swimsuits. The latter sees the audience slow right down with them, lulled into a reverie of tender undulation. Perhaps they’re vacationers kindling a holiday romance, or spouses sinking into each other’s arms after a long day of children and chores. Such is the multiplicity of “Vollmond”—an invitation to swim in its choppy currents and see what the waves toss up.