It may be ungrammatical to say that Maria Hassabi “lives between Athens, New York, and Paris,” as one of the many theater Web site mini-bios has it, but it inadvertently touches on a central betweenness that animates the Cypriot director-choreographer’s work: between stillness and incremental movement; between sculpture and person; between borrowed and authentic image; and now, with the premiere Us, between the audience and the five performers. They are arrayed on a long bench. We are in our seats. A narrow channel separates us. They are watching us while barely moving. We are watching them watching us. Us is not entirely new terrain for Hassabi, whose work has proceeded with slow deliberation from one essential question of performance (as well as of life) to another for the past 15 years. As her audience, we are always wondering what to do with ourselves—even when gawping at these often prone, always vulnerable, beautiful people implicates us in something untoward. But now the audience-performer bond is the main story, and maybe even a happy one, if we can allow it. —Apollinaire Scherr