because everyone was so present. But the highlight of the night, Justine Chambers's mesmerizing On Any Given Day, was as serene and crystalline as a tubular bell. Set to a symphony of musical chimes, it found Chambers strutting, squatting, and sauntering around the stage, her graceful hands flicking repeatedly like levers in a carillon. It was simply entrancing -- made all the more so by the outrageous carnival that surrounded it on the program. A contemplative, gorgeously choreographed piece, this suffered slightly for its placement in the program. After the successful blend of energetic Strathcona High Class of '56 , it was difficult as an audience member to come down to earth for the restrained and introverted On Any Given Day . That said, this was clearly a work of great skill, a dancer's work of dance and it deserved an attentive audience. Incorporating a complete range of movement, from the mechanical and spastic to the fluid and graceful, Chambers proved that her body is her instrument and that she knows how to play. She made little use of the floor, focusing instead on upright postures. These covered everything from traditional pirouettes and leg lifts, to more modern poses -- bends and squats that emphasize the athleticism of a body as much as its grace. Her motions were finely tuned -- the angle of her wrist was as important as the placement of her leg or torso. Set to a mystical score by Sufjan Stevens, On Any Given Day comes