I’ve been going to see Pilobolus for more than over 40 years and never have I witnessed anything as dissonant and violent as the apocalyptic Thresh/Hold. Choreographed by guest Javier de Frutos in collaboration with the company and its directors, it bears little signature movement: organic intertwining/dependence/trust. Instead we see repetition; sharp, disturbing gesture and practical movement of a mobile door/frame. With original music/sound design by David Van Tieghem, the piece is as abrasive audibly as it is visually. Russell Champa’s lighting design is outstanding. Technique is wonderful, but-
Bloodlines, choreographed by Renee Jaworski and Matt Kent in collaboration with tonight’s performers, Marlon Feliz and Hannah Klinkman, is a duet for two women. Both artistic directors find themselves taking care of elderly parents. Washing My Mother’s Body, a poem by laureate Joy Harjo took inspiration further. Daughters traditionally helped their mothers transition to death, then washed their bodies. Harjo missed her chance. The dance is about “generational reciprocity, taking care of the caregivers who once took care of you.”
Noctuary – Photo by Steven Pisano – Dancers Zachary Weiss, Marlon Feliz, Nathaniel Buchsbaum, Hannah Klinkman, Quincy Ellis, Derion Loman
Though splendid to look at, one would not have a clue about its intention without the above information. Switching of dependence is so subtle, it’s invisible unless watching for it. The two dancers could easily be lovers. A program note would’ve been invaluable. Leotards have smears of red – apparently blood – eliciting thoughts of brutality, not care. Falling rose petals are lovely, but puzzling.
Gnomen was created by Robby Barnett and Jonathan Wolken, two of the company’s founding members, in collaboration with Matt Kent, Gaspard Louis, Trebien Pollard, Mark Santilliano. Music – Paul Sullivan; Throat singing – Matt Kent. Beautifully performed by Connor Chaparro, Quincy Ellis, Sean Langford, Derion Loman, it showcases interconnectedness. Each man is lifted, carried, passed from hand to hand, turned, rolled, slid, draped…acknowledged, respected, celebrated. Extraordinary muscular control keeps bodies unbending when aloft, yet curiously without appearing stiff.
Symbiosis, created by Michael Tracy in collaboration with Otis Cook and Renee Jaworski begins with a flash of lightning and thunder followed by sounds of torrential rain. A man and woman seem to slowly wake. Here attachment is literal as well as figurative. Imaginative choreography finds one balancing on the other’s knee, head, shoulders; suspended by only an arm or leg in unusually balanced positions.
Symbiosis – Photo by Brigid Pierce – Dancers: Heather Favretto, Jacob Michael Warren
The two cannot be apart. Breathing seems in sync. One burrows not just against, but into crevices of the other as if liquid. Torsos fold, dive and roll, somersault, attach and slither. The piece arrives in slow motion. Skillfully performed by Quincy Ellis and Marlon Feliz. Music – “Morango…almost A Tango” by Thomas Oboe Lee for the Kronos Quartet.
Rushes is another piece created by the whole company. Music and sound is a mélange of Eddie Sauter, Miles Davis, John Blow, Big Noise From Winnetka used by permission, Dukes of Dixieland, Arvo Part. You’d think it would be buoyant and tuneful, but after initial circus band music (the audience, starved for melody, spontaneously claps), sounds take over, everything but Winnetka.
Slumped dancers sit on small white chairs in a circle. Three interact at the center. They’re loosey goosey. A dancer in suspenders (costumes by Avshalom Pollak and Inbal Pinto are highly imaginative) moves from seat to seat with a suitcase, at one point literally walking on chairs as the other three men put each in front of his step just in time.
Two women are seemingly unable to use their legs. When one is partnered, she hangs limp throughout. The second, jealous, literally climbs up a male dancer who passively accepts her leaving us with a droll image. I’ve never been able to figure this one out. What’s the intention? Where’s the humor? Apparently a computer program called QLab is used to splice music. It doesn’t sound like human choice.
Sweet Purgatory – Photo by Grant Halverson – Dancers: Krystal Butler, Derion Loman, Antoine Banks-Sullivan, Jordan Kriston, Benjamin Coalter, Mike Tyus
The ethos of Pilobolus has always been fascinating. Matt Kent calls it a matter of “reciprocals: I pick you up, you pick me up. You sort of move your center of gravity out of you into another.” Artistic Director Renee Jaworski and Kent communicate the kind of world they want to fashion. Dancers then improvise their own visions. Choreography is collaborative. Both dancers have performed in pieces they now present. “Ideally it’s an oral tradition,” Jaworksi says. “We think about building worlds, not choreography.” Telling might be literal or abstract as long as the story is communicated. “It’s like a jazz band up here,” Kent adds. The story is paramount.
I’m afraid stories were elusive tonight and missed.
Pilobolus crystallinus is a phototropic fungus. Translated from Greek, Pilobolus means “Hat Thrower,” referring to its spores that accelerate 0–45 mph in the first millimeter of their flight and adhere to wherever they land. The name was apt, and it stuck.
All photos courtesy of Pilobolus
Opening: Tales from the Underworld – Photo by Megan Moss-Freeman – Dancers: Krystal Butler, Jacob Michael Warren, Zachary Eisenstat, Nile Russell, Nathaniel Buchsbaum
Pilobolus– re:CREATION
Executive Co-Artistic Director – Renee Jaworski
Artistic Director – Matt Kent
July 23 through August 11, 2024 – two different programs
Joyce Theater
175 Eighth Avenue at 19th Street
