In 2015, when the producing directors of the Illusion Theater, Bonnie Morris and Michael Robins, were given the opportunity by the National Theatre Conference to name an Outstanding Emerging Artist, the pair chose another local duo, Diogo Lopes and Isabel Nelson of Transatlantic Love Affair. To anyone paying attention to local theater, the honor shouldn’t have come as a surprise. Since the company’s inception, Transatlantic Love Affair has forged a singular path with spellbinding storytelling realized through deftly choreographed physicality. Strikingly designed, each of the company’s seven previous works has proven to be a provocative highlight of the Twin Cities theater scene: Ballad of the Pale Fisherman, Red Resurrected, Ash Land, These Old Shoes, Solitaire, 105 Proof; or, The Killing of Mack “The Silencer” Klein, and Emile/Eurydice. Though each work has been stylistically varied, all seven are unified by the guiding sensibilities of creators Lopes and Nelson. Considering this acclaimed background, the group’s latest work, Promise Land, comes with lofty expectations. An invigorating reimaging of Hansel and Gretel, Promise Land looks to transcend fairy-tale origins to parallel real-world immigration experiences. Originally conceived by Lopes and fleshed out by contributions from the ensemble cast, the emotionally rich production should once again validate widespread acclaim (including being named Best Theater Troupe by City Pages) for the always passionate overtures of Transatlantic Love Affair.