At a glance

Millions of Americans listen to Ira Glass, host of the National Public Radio program “This American Life,” as he tells the stories of people’s experiences.

Far fewer have seen Glass work with two dancers to dramatize stories in “Three Acts, Two Dancers, One Radio Host.”

Monica Bill Barnes and Anna Bass join Glass in the dance/radio show, which the Wexner Center for the Arts will present on Saturday in Mershon Auditorium.

“This is a total extension of the radio show but with visuals and dancing,” said Glass, 58.

“I tell stories, and they dance, doing movements that somehow connect to the show. One reason I was attracted to working with them is they are amazing entertainers — far more “Three Acts, Two Dancers, One Radio Host” Ira Glass, Monica Bill Barnes and Anna Bass Mershon Auditorium, 1871 N. High St. 614-292-3535, www.wexarts.org 8 p.m. Saturday $45, or $40 members; $10 for students (upper balcony) accomplished than I am, and out for fun.”

Chuck Helm, director of performing arts at the Wexner Center for the Arts, is a longtime fan of Glass, whose NPR show airs on more than 500 stations. In Columbus, “This American Life” airs at 2 p.m. Saturdays and 3 p.m. Sundays on WOSU (89.7 FM) and at 7 p.m. Mondays on WCBE (90.5 FM).

“He has carved out a unique territory, entertaining and insightful,” Helm said.

“What appealed to us is the hybrid … that unexpected juxtaposition. This is an ideal introduction to dance through the eyes of Glass.”

The weekly radio program centers on a theme. One recent show about grand gestures, for example, told stories about high-school boys in Utah staging elaborate “prom-posals” and skywriters who create messages of love in the clouds.

The 90-minute, one-act stage show offers 11 stories in three segments: about making a show; about love; and, finally, about loss.

Rather than illustrating stories, the dances often offer visual counterpoint.

For instance, one story focuses on Donald Hall reading poems he wrote about his terminally ill wife, who died in 1995. “It’s beautiful,” Glass said. “He describes very vividly caring for someone you love who is on the verge of death.”

As Glass plays Hall’s recordings, the dancers perform on a dining-room table.

“There’s no one-to-one illustration of what he’s saying,” Glass said, “but there’s a feeling in what they’re doing in their very slow dance, and it feels like what he is saying.”

Barnes, 43, and Bass, 39, have worked together for 14 years in the New York troupe Monica Bill Barnes and Company, which Barnes choreographs.

“Our work often deals with humor, situations, slapstick, characters and recognizable gestures … so we already go a long way to make the audience relate to us onstage as real people,” Barnes said. “And that’s part of why we wanted to work together.”

One story focuses on Glass’ interviewing Barnes about her dancing.

“Anna and I have different personalities. Often, with dance companies, you don’t

know which dancers are which. The individuality and humor are two of the staples that make our work make sense,” Barnes said.

“Beyond what’s personal in our touring, there are larger themes about relationships and what it is to work with people and spend a life together.”

For another story/ dance, Glass interviewed Bass about what it’s like to work with Barnes. Both dancers perform

during both interviews.

“It sheds light on our relationship as dancers,” Bass said.

“You hear me talk about how we handle different moments and choices onstage, even though we have similar movement instincts and often perform in unison. … When everything comes together, it feels like, ‘Aha!’ “

The Columbus performance, which includes a few new stories, marks the end of a three-year off-and-on tour, which began at New York’s Carnegie Hall and visited England and Australia.

“Just the experience of working together has been a big part of our lives,” Barnes said.

“We’ve gotten dance out in front of audiences that don’t usually see a lot of dance, and that’s important for the art form.”

“What’s amazing,” Bass added, “is the shared sensibility between Ira’s and Monica’s work … how the dancing gives every piece an added layer of texture and meaning.”