In the midst of various goings-on, Monk herself - the extraordinarily versatile composer, choreographer, film-maker, singer and dancer - suddenly begins to stomp around the stage. [...] the piece's rich web of associations, and its unpredictable blend of vocal and instrumental music, dance, video and electronics, cast a spell during Friday's performance. At one point, Katie Geissinger and Bruce Rameker join forces to sing a beautifully dappled duet - a love duet in everything but content - then repeat it from different parts of the stage as the three remarkable instrumentalists (Alison Sniffin, John Hollenbeck and Bohdan Hilash) add new layers of counterpoint. Later, the entire ensemble - which includes San Francisco's Sidney Chen, joining the company for the first time - lines up in a tight row, spills out into jangly visual chaos and falls back into formation again, like a film running backwards. Actual film does surface toward the end of the piece, a black-and-white montage of imagery that includes spiders, a lava flow, a romantic kiss and a Klan rally. [...] Monk's musical inventiveness - with its combination of elegantly simple harmonies and textural surprises - and the stark yet sinuous quality of her choreographic language never cease to amaze.