The relationship between Seo and Hernández is doomed in the first half, which takes place in 1928 under a cold, steely Manhattan Bridge. In the second, with Hurlin and Camargo beneath the Brooklyn Bridge, it is 2038 and seemingly the same couple — or their souls — reunite. In each section, the bridges have a way of floating above the stage. Constructed by Youssef Hotait, who also designed the costumes, they are made of pieces of fringe and act, for a moment, as distraction from Nunes’s underwhelming choreography — more muscular than musical — and sophomoric storytelling.