The scrim that was exposed well before the show began read “1928.” Later, there would be another one to signify a jump in time to 2038. These date drops lifted to reveal two impressive bridge sets by Youssef Hotait (who also designed the costumes and co-wrote the book with Nunes). The first was the Manhattan Bridge, darkly lit and imposing. The second was an airy take on the Brooklyn Bridge, made of fringe. They nicely framed the reincarnation plot of “Have We Met!?,” which was like a boiled down version of David Mitchell’s novel Cloud Atlas. The souls of two lovers—first portrayed by Chloe Misseldine and Joo Won Ahn, later Isabella Boylston and Joseph Markey—connected in different bodies a century apart.  

Well, a century and a dime. I see why Nunes and Hotait didn’t pick 2028: the souls’ blissful reunion occurred amid the throng of a future populace dancing atop the Brooklyn Bridge to Luke Howard’s incessantly optimistic music. Curiously, they all wore color block unitards that read as half Grecian, half space-age. Boylston’s braided updo was Princess Leia chic. None of this seems likely to transpire less than three Trumpian years off. Though I’m afraid Nunes and Hotait should’ve gone much further forward in time; it doesn’t seem plausible 13 years from now either. Premature curtain and titular interrobang notwithstanding, the biggest misstep of “Have We Met!?” was its insanely roseate vision of the very near future. 

I’m also not sure why the relatively peaceful interwar year of 1928 was chosen to begin with. Were the ballet’s combat sections flashing back a decade to WWI or lurching a decade plus into WWII? It was unclear. But the bleak first half of the ballet was more effective than the whimsical latter half. Under the hulking bridge, Nunes capably used his large cast of twenty (here decked in inky tweeds) as a menacing, militant block. Trafficky scenes set to heavy brass and chimes in Howard’s score were exciting, as was the way that the lead couple’s lifts soared above the crowds like dolphins cresting on waves. A two-note oscillation was neatly paired with the corps performing an endless jog-leap sequence in place. Best of all was the gorgeous, expressive dancing of Misseldine, whose stunning, drop-waist halter gown evoked the famous green dress in Ian McEwan’s Atonement.