A stunning projected video, also by Garcia Davis, and Christina Cardenasís inspired Coyolxauhqui artwork, provided effective visual motifs for movement design. An original musical score by William Campbell heightened the emotive power and provided a framework for rather short dance sequences.

This was strongly physical theatre performed by gifted professionals with imagination and wit. For greater dramatic and emotive effect, however, it needed to be presented in a smaller, more intimate space. The stage here was a bit overwhelming for four dancer-actresses.

The first story, New Moon Over Juarez, conceived by Tessler and based on text by Victor Hugo Rascon Banda, effectively described a young maquiladora (factory) worker mutilated and killed in Ciudad Juarez, where more than 300 women have been murdered in ten years. She begs her sister, an immigrant in the U.S., to come for her remains. The last image is of her body suspended from a circular swing, its shape in space presaging the entire dramaís theme image on the moon of Cardenasís Coyolxauhqui

The second story, Invocada, conceived by Santos, was primarily a monologue by her character as a Brazilian woman invoking the other women on stage to have courage and stand up for themselves. Each woman tells of her own humiliations.

The third story, Sacrifice, by Suarez, was really a farce in the midst of traumatic drama, similar to the Shakespearian device of the Fool who breaks the mood, and at the same time utters judgments on the other characters in the play. Here an immigrant girl re-assembles herself like a grossly exaggerated Barbie doll, urged on by two statuesque blond bimbos who stuff her breasts with balloons, and provide a wild, blond, big-hair wig. Relying on pantomime, this went on far too long and made its statement in the first several minutes.

The last story, full of the hissing breaths of ancient Aztec gods, presented the myth of the moon goddess. Titled Dismembered Moon, Perea conceived the movement and mood of the piece, demonstrating her interest in and gift for utilizing symbolic props with movement. Perea, a native of Albuquerque, danced the part of Coyolxauhqui as a girl caught up in visions from the stars about the evil growing in her motherís womb. The mother-goddess sings the text in almost operatic style so that the screams of pain and anguish work musically as well as dramatically. The birth and attempted murder were handled smoothly, and even elegantly as hands became knives, and an embrace became a death hold. The war god appeared from under his mother full grown, dressed as an urban chola, and attacked his sister while twirling on the circular swing at stage left. When Coyolxauhqui died, she hung from the swing in the same angular pose as Cardenasís dismembered moon disc figure that was projected on the screen behind the dancers.

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