An Evolving Pilobolus Stays Focused on Movement

After 30 years of enriching theatrical dance with unusual movement vocabularies, Pilobolus seems to be drifting away from variety-show programming toward the creation of a full-evening work--maybe even two.

At the Alex Theatre in Glendale on Friday, half the evening was devoted to three pieces exploring experimental partnering and, particularly, state-of-the-art movement flow--each featuring scores by Paul Sullivan that shared an interest in environmental sound effects and brief samples of familiar tunes.

The second half introduced one of two longer works in the current repertory portraying Jewish themes. Of course, such Pilobolus offshoots as Crowsnest and Momix have mounted a number of full-evening works, but their efforts emphasized theatrical illusion while the linked Pilobolus rep at the Alex stayed steadfastly focused on movement values.

The most conventional third of what we might call the Sullivan Project depicted two sailors (Matt Kent and Benjamin Pring in extensive fake tattoos) alternately showing off for a sly waitress (Josie Coyoc) and playing tricks on her. Choreographed by Alison Chase two years ago in collaboration with company members and titled “Uno, Dos, Tray,” this sitcom skit coupled jock behavior with partnering finesse that any ballet cavalier might envy.

“Apoplexy” (1998) added an edge of danger: gunshot percussion repeatedly flattening everyone in the six-member cast before the music evolved into aggressive rock and the movement developed into loose, anarchic group surges accented by combat duets.

Choreographed by Robby Barnett, Michael Tracy and Jonathan Wolken in collaboration with the dancers of ‘98, the piece soon abandoned social statements for elaborate sculptural and partnering effects: Renee Jaworski doing a headstand atop a cluster of men, for instance, and sinking down inside as if on an elevator.

Tracy’s collaborative “Sweet Dreams” (2000) featured an uncredited, mysterious set (Monument Valley by moonlight?) and two couples: the ever-restless and fluid Jaworski and Kent, plus Otis Cook and Pring, who eventually merged into a living platform on which Kent put Jaworski tenderly to bed. The weightless, molten body fusion became supernaturally lush here, no hint of effort undercutting the sensual languor.

Set to a rhythmic score by Frank London performed by the Klezmatics, “Davenen” (2000) dramatized conflicts in traditional Jewish thought between body and soul, individual and group identity, ecstasy and intellect. Pring and Gaspard Louis proved powerful as targets of desire, while Kent made the act of trying to subdue the flesh acutely intense.

Choreographed by Barnett and Wolken with the six dancers on view, “Davenen” transformed highly complex philosophical debate into potent physical confrontations--an ambitious and exciting Pilobolus adventure.