Volta’s Mamie Green, who directed and choreographed the piece, had a lot on her, well, plate, in the bold 60-minute endeavor that made use of the Skirball’s Cotsen Auditorium, with its high ceiling and second tier seating space. Referencing Greek mythology, Pina Bausch’s “Rite of Spring” and the abovementioned seder—a meal commemorating the historical deliverance of the Jewish people from Egyptian bondage in the days of Moses—the work was written by Rebecca Schultz and conceived by her and Green. 

And while most dancers aren’t asked to recite much text, Green’s performers, wearing mics and varying attire, had a lot to remember in this telling of a dysfunctional family. Oh, and did we mention the bulbous-headed mannequins by Freak Nature Puppets (who also designed the costumes), and Abby Sage, whose dummies sported large crania and hands that seemed all-knowing? Their presence added to the cerebral drama that unfolded over five acts, with a suit-clad, trying-to-look-stern actor Sophie Becker, serving as the patriarchal father/guide.

Discoursing at the work’s outset on genealogy, the tree of life and ceremonies, Becker was a reliable narrator whose words occasionally came to life. To wit, a dancing egg (a symbol of mourning the past, the Passover egg also suggests hope and a prayer for the future), was stunningly performed—on a day’s notice—by Jobel Medina (original cast member Ryley Polak assumed his terpsichorean duties for the final two performances). In truth, this reviewer didn’t realize that Medina, whose dazzling Sufi style spins, handstands and fine footwork while inhabiting what could have been Victorian neckwear or a lemon Oreo, was, in fact, a hard-boiled Deviled ovum that would ultimately, once broken free from his shell, become . . . the baby of this somewhat bizarre clan!

It mattered not, as this mash-up of “Family Feud” and a danced version of today’s horrendous news (shades of Simone Forti) unspooled to the highly rhythmic music of Patrick Shiroishi’s and Dylan Fujioka’s electronica/digital track (performed live), with Anaya Gonzalez, who’d been sitting at the Seder table (set design by Ari Salka), then crawling underneath it to take center stage and offer a series of gorgeous moves.