Five bodies arranged in a circle simply occupy the stage. They’re so sparsely clothed that they seem naked. This might be because Catherine Gaudet’s Les jolies choses is a post-lockdown play and that its first tableau is offered as a meditative sketch. And if there’s an arm, the movement of a torso, or a chorus joining in unison to chant the only four harmonic notes that make up the musical theme, it’s because the dancers are the metronomes of a gentle deconstruction of the mathematical order that governs them. The complexity of the score is astounding, the dancers’ technique spellbinding, while underneath their command, singularities emerge. The Montreal choreographer’s signature is to provoke the emergence of psychic states through the richness of her choreography. Her language is woven of these fine changes in tension that reveal the entanglement of emotions, and the jolts of impulses until a deafening inner chaos spiced with death metal bursts forth.