Fortunately for the musicians of Shadowbox Live, imitation (the sincerest form of flattery) is no sin. That's what they've always done best. Between each of the seven dances in BalletMet Columbus' "7 Deadly Sins," Shadowbox recreates iconic performances by Janis Joplin, The Who, Living Colour and Jim Morrison.

Fortunately for the musicians of Shadowbox Live, imitation (the sincerest form of flattery) is no sin. That's what they've always done best. Between each of the seven dances in BalletMet Columbus' "7 Deadly Sins," Shadowbox recreates iconic performances by Janis Joplin, The Who, Living Colour and Jim Morrison.

During the seven dances, Shadowbox contributes atmospheric original compositions and clever rock re-imaginings of Beethoven and Saint-Saens.

"Sins," the eagerly awaited collaboration between BalletMet and Shadowbox has less to be proud of in terms of choreography.

By far, the most exciting moves happen at the end of the first act during Darrell Grand Moultrie's "Wrath." Limbs and bodies get thrown every which way, until the dancers get distracted by a giant video of bodies slamming against walls. Things degenerate into a primal scream session that may be therapeutic but feels ludicrous.

Jimmy Orrante's take on "Greed" opens with, and repeatedly returns to, the gesture of the handshake as the dancers cooperate to build a structure only to turn on each other in a game of "king of the hill."

Ma Cong's opener "Pride," set to Santana's "Oye Como Va," features sassy hip sways and shaken skirts. James Kudelka's "Sloth" examines the allure of never leaving bed. Mysterious narratives seem to drive Gina Patterson's "Lust" and Amy Seiwert's "Envy." But there's nothing mysterious about Kudelka's merry celebration of spaghetti in "Gluttony."

At the beginning of "Sins," quotations are projected behind the band. Among the more applicable is one from the choreographer Martha Graham: "The only sin is mediocrity."