An Intertwined and Cantilevered Pilobolus Sells Out - Again

One dance company audiences love is Pilobolus, and the reasons for that were abundantly clear in their performance at the University of Denver's Newman Center on January 26, 2010. The company reached deep into their earliest repertory with "Pseudophobia" (1973), as well as presenting almost brand new choreography in duets such as "Dog ID" (2009). The works varied from ones where one can find profound meaning, like "Gnomen," to delightful and comedic romps, and a common Pilobolus, high energy closer in "Megawatt."

"Gnomen" (1997) is a quartet of four males, in which, one by one, each dancer is singled out by the other three for attention - said attention varying from nurturing to blatant abuse. Within the work the often seemingly impossible single and multiple body intertwinement and lifts that are signature to Pilobolus are raised to a new and higher level of amazement and virtuosity. The work can be seen as struggles with self, where such struggles vary from dealing with pleas to be included in any fellowship, to abuse suffered within same. Pilobolus, which is too often dismissed as presenting "eye candy," finds profound meanings in "Gnomen."

"Pseudophobia" and "Megawatt" have been reviewed previously on World Dance Reviews, and those reviews can be found within our review archives for 2007. "Pseudophobia" - one of Pilobolus' early works - reads as well today as in 1973. It features one virtuoso dancer - in this case Jun Kuribayashi - in an enegetic solo that moves through all available space in creative and stunning ways that include suspensions and shoulder stands that seem frozen in time. "Megawatt" is a high energy work set on six dancers that features Elizabeth Streb-like crashes to the floor that make one wonder how many times dancers can perform it - even young dancers - without lasting harm to their bodies.

Two almost brand new duets, one as yet to be titled and the second titled "Dog ID," are delightful audience pleasers. The first, although it seems comedic, is filled with nuance about identities within any relationship, such as marriage. The dancers continually struggle for separate identity as Pilobolos intertwinements defy that. Eventually they settle for a shape that causes them to share one leg each as they exit. "Dog ID" is an entertaining excursion through light tricks and silhouettes that allow shadows of one dancer to morph and shape the silhouette of another into curious shapes, that include a dog, complete with ears and an agile tongue.

An opening work, "Laterna Magica" (2008), is an interesting excursion using a lantern that seems to impart energy, which motivates dancers to energetic Pilobolus type rolling groups and vehicles like boats and airplanes that are reminiscent of their recent automobile commercials. Unfortunately the length of the work seems to exceed its performance life - even for this audience - despite its place as first in the program.

Donald K. Atwood

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