The introspective work was an exercise in the economy of movement and stagecraft, beginning with the two performers seated in chairs on opposite sides of a mostly bare, black-and-white stage, their backs to the audience. The pair sat in silence for two and a half minutes before Corning began the first of several solos dancing to Meredith Monk's 2025 song “Happy Woman.” 

With the stage in darkness, save a square of light surrounding her, Corning rose from and then slowly sank down into her chair again before leaving it behind to slowly circle round it, executing simple gestural movements, including making undulating waves with one hand in the air, folding her arms around her head, and gingerly walking backward with her hands tight to her chest and cheek as if a shield against oncoming despair.   

Then, like a tennis match where the ball was the pendulum-like stage light illuminating a single side of the stage at a time (created by lighting designer extraordinaire Iain Court), the performers took turns dancing solos that invited comparison. Corning's were meticulous and somewhat cryptic; at one point, her hands shook nervously, and at another, she rigorously whipped her chair round in a circle. Fisk's solos leaned into his youthful playfulness and athleticism, with him dancing about and snaking up and down his chair like a gymnast on apparatus.