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
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