During the 60-minute performance, viewers sit in a stark industrial space as performers Jehan O. Young and David Guzman circulate around them. The two perform a series of short scenes and passages that accumulate and interweave. A parent talks to a child who cannot sleep; a figure in darkness ruminates on the similar luminosity of lighting bugs and cell phones; another comments on the comings and goings in her building at night; a third scene walks a line between surveillance and protection. Artist Jess Barbagallo is creating monumental pen-and-ink drawings, one for each scene, some of which are animated by designer Jeanette Yew so they seem to take flight. In between stories and dialogues, the performers ask viewers to enter their own text, drawings, memory maps and lists of words into notebooks placed on their chairs. Yew’s lighting design shifts the feeling of the space alongside the text; the streetlights in a city park by turns mimic a 1980s video game, then fireflies. Norman Westberg’s sound score of guitar loops and samples is by turns delicate and intense. Choreography for the work is created with Bessie Award winner Hilary Clark. What accumulates is an appreciation for how we are bound together by the passage of time, even if our view of one another is obscured, even if we occupy space differently. Night Keeper seeks the invisible ways we constitute community. As we reenter a world changed by COVID-19 and by reckonings with race, culture, and war, we are asked to reconsider what it means to be together, and who’s with us, regardless of how distanced.