Poignant Duet Can’t Save Empty ‘Attic’

Dancer-choreographer Cassandra Bruno’s most intriguing gambit in a bloated, aimless performance, “Things From the Attic,” was, perhaps, her beginning the evening from a seat in the front row of the Attic Theatre Centre in Hollywood on Saturday. It was there that Bruno, director of the Movement Company, cast herself as unofficial tour guide of a Woodstock-like, three-act work of immense conceit, with flailing arms in evidence and a perpetually open-mouthed visage that smacked of emptiness.

Accompanied by guitarist-composer Russil Tamsen, whose raw vocals aspired to Bob Dylan, Bruno’s improvisations in Act 1 billed as excerpts from the “Loosening,” were more akin to Modern Dance 101. “How to Be” spoke of freedom and Jesus, while Bruno whirled in vain. “Church of Your Love” featured Nancy Lord and Bruno on the floor, literalizing the lyrics: kneeling and touching.

The saving grace of the evening was a short duet, “Unspoken,” by guest choreographer-dancer Deborah Rosen. Rosen, who performs with Hybrid Physical Theater, paired with Michael McIlmurray in a vital yet poignant work in which she executed spectacular strength and control by lifting her partner and holding him on one hip.

The evening then plummeted to Act 2’s “ManWoman,” choreographed by Bruno and Roger Fojas, in which Bruno and stand-up comic-turned-dancer, Mark Cattalini jumped and somersaulted around in loincloths to a taped track of techno-jungle music.

Act 3 displayed the paintings of David Wood. Projected behind the performers, these works replicated the dancers’ moves and were, in most cases, more provocative. “Ironing” had Hillary Black, Bruno and Diana Sherwood--what else?--ironing, while the final piece, “Tripping Over,” featured a movement called “Bottle Dance,” in which the performers caressed bottles and mumbled the words “power, fame, drugs, alcohol, sex.”

Lighting, credited to Amy Vaillancourt, remained colorless throughout, as did Bruno’s desultory vision.