Weis starts each “Sunday on Broadway” with a similar introduction, but the way she does it is always a surprise. The last time I attended “Sundays on Broadway,” which Weis has been hosting since 2014 (with earlier iterations beginning in 2003), Weis glided into the performance space six feet off the floor on a performer's shoulders. This time, she slowly melted into the floor in a weight-sharing exercise with David Guzman, one of this year's co-curators of the series. As she and Guzman descended, Zo Williams, another co-curator, assembled a rainbow train of painted children's chairs on wheels. The chairs connected through magnets and made a wonderful sound like a rain stick as they were dragged across the space. The chairs circled Weis and Guzman and then banged into them. Guzman and Williams rearranged the chairs around the room as Weis lay flat on her back holding a microphone to her lips. 

Weis preceded three artists: Amelia Heintzelman, Fabio Tavares, and Sondra Loring (Loring performed a new work by Stephen Petronio, the first since the closing of Petronio's company last year). 

Heintzelman, a young choreographer and performer, is a regular in the New York City downtown experimental dance scene (her work has been performed at Judson Church, Danspace Project, and Center for Performance Research, among other venues). This evening, Heintzelman and fellow dancer, Brendan Elefante, slowly circled each other in the space, then burst into athletic partnering, lifting, shoving and pinning each other to the floor in a wrestling match. Heintzelman had microphones attached to the floor, an ingenious sound manipulation that amplified every sound the performers made. Each roll and fall became tumbles and slams that reverberated with a spectacular echo.