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About Eugene weekly. (Eugene, Oregon) 1993-current | View Entire Issue (April 21, 2005)
Brawn with Brains Pilobolus approaches middle age I n 1971, a group of Dartmouth College gymnasts wandered off their tumbling mats and into a modern dance class, and a new dance-theater company was born. Pilobolus, a performance collective named for a spontaneously eruptive spore found around pastures and meadows, makes works that are collaborative in process and accessi- ble in design. And perhaps they can credit their longevity to egghead smarts. Early on, they famously declined an invitation to travel with a smitten Frank Zappa as his band’s opener, because they had to study for midterms. But they’re not in school anymore. Four co-artistic directors Robby Barnett, Alison Chase, Michael Tracy and Jonathan Wolken supervise Pilobolus’ breakneck touring schedule and the insistently egalitarian (at least in principle) creative process. Universal language is what makes the work appealing to audiences. Pilobolus does not root itself in cultural tropes that might bog down the watching. There’s a breezy, fantastical quality to the movement, whether the piece is light or dark, and an evocative moment where we get to sit back and just enjoy a rich hot fudge sundae of imagination. Let them do the experiment- ing, the play, the lifts, the lugs, and then present it in a package that makes it all look delightfully gooey and fun! The varied line-up for the Eugene per- formance reflects some departures the artistic company has made in recent years, as well as pieces that stay true to Pilobolus’s athletic, funny, “How did they do that?” roots. The evening opens with “Star-cross’d,” a swift re- telling of the Romeo and Juliet story, choreo- graphed by Alison Chase. Red-dressed Mermaids twist and flip in 1972’s “Pseudopodia,” and “Walklyndon” (1971) is pure slapstick physical comedy, with its clever crosses and quirky relationships. “Symbiosis” explores the dynamics of love and not-love. And finally, “Brass Ring” delves into the music and imagery of move- ment performance throughout recent history. It touches on vaudeville to the big-top and makes a fitting end to an evening that will bring dance to a heightened, yet approach- able, place. Pilobolus has legions of worldwide fans and sells out a run in New York every year. Their challenge as one of the country’s immi- nent and inimitable companies is to continu- ally find the “new.” Their early work is robust and beloved, the vision of frisky coeds with energy and knee cartilage to burn. Critics have complained that more recent efforts show too much play and not enough art, in other words, the company’s more contempo- rary choreography lacks the distilled form that should coalesce from the discovery Pilobolus performs at 7:30pm on April 26 in the Silva Concert Hall, Hult Center. BY RACHAEL CARNES process. Pilobolus’s work is still well worth a peek. If it helps develop an audience for dance, maybe play is enough. Fans of the company, unsated by the one-night-only performance April 26, may want to look for Mirra Bank’s 2003 docu- mentary “Last Dance,” which chronicles Pilobolus’s work with renowned author and illustrator Maurice Sendak. The film is ter- rific. It portrays the incredulity, attitudes, egos, frustrations and breakthroughs inher- ent in making art. ew arranged in a poco de todo line-up that offers an opportunity to take in many creative perspectives. Here, most of the dancers approach “The Solo,” the hardest feat to pull off. Exposing every misstep, making plain each dropped choreographic stitch and lay- ing bare moments of over-the-top emotion and pastiche, solos are elusive, operatic, LCC presents ‘The Works.’ dangerous. The choreographers I saw in rehearsal approached the challenge with gusto. he late Martha Graham held a fervent belief that center stage was wherever she Several pull together tightly bound pieces that break free of the student label. Emily was dancing. Graham had the star-powered élan, whether in solo or group work, Joyce’s “Flutter” explores earthy realms with strong, collected jumps and lightly flick- to draw focus to wherever she was. When LCC presents its spring student concert ing arms. Jennifer Stone’s “Frigid Scales” undulates between the tensely sensual and “The Works” this weekend, we probably won’t see any Grahams on the stage. But we the floppily resigned. Mandi Barbar’s jazzy “Layers” will see unequivocally exuberant movers, a few prom- breezes along finely gestured pathways. And Lisa ising solos and some interesting group work. The Works: Choreography and Dance by LCC Students. Spence’s “Propensities” breathes with oceanic con- I enjoy watching student-choreographed concerts 8 pm April 21, 22 and 23, LCC Performance Hall fidence. — Rachael Carnes because they’re inevitably accessible. They’re often $6 adults; $5 students, seniors. Tickets at the door. Ticket Office: 463-5202 Dance Alone, Altogether T Premium Pour, Inc. 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