Pilobolus entertains at Richmond despite changes

During the nearly forty years since the production of Pilobolus began at Dartmouth College, it has been questioned whether "new" Pilobolus" is as good as "old" Pilobolus. Based on last week's performance at Richmond, it is evident that the recent works differ from the old - and they should. Stagnant art is bad art. "New" Pilobolus is both as different and as exceptional as the old.

The evening began with Redline. The dancers looked rugged but urban in costumes designed by Liz Prince, which paired black sneakers with green camouflaged vests. The martial arts-inspired choreography literally sent dancers flying in the air like grenades. The dancers flipped over, under and around each other in dizzying capoeira-like duets and trios, but the energy tapered off when all the dancers appeared on stage together.

These larger formations, especially during an improvisation reminiscent of ti-chi, lacked ingenuity and clarity of purpose. The piece seemed to be more than just a study of combat, making references to physical and psychological isolation; yet, these images lacked coherence, conveying not the chaos of combat, but the ambiguity of an underdeveloped piece.

The rest of the concert was more than redeeming. The next piece was Walklyndon, a classic of the Pilobolus repertoire choreographed in 1971. The costumes by Kitty Daly got the first laugh for the shiny yellow unitards and bright '70s vintage running shorts. Dancers crossed the stage, exaggerating all the humor that can result from - yes, walking. The physical comedy was witty and well-timed, and the piece was thoroughly delightful.

The most quintessentially "Pilobolus" piece of the evening was a quartet titled Gnomen. One at a time, a dancer separated himself from the group, while other three helped effect his return with relationships ranging from aggressive to nurturing. The dancers lifted one another with seemingly effortless ease; only the rigidity of their muscles betrayed the truth of the raw strength they employed.

The athleticism of this male quartet was unquestionable, yet the choreography was as gentle as it was masculine. Not a mindless display of muscle, Gnomen accessibly grasped the human relationships of support, control, guidance and respect.

Another recent work was aptly titled Duet. This quirky and witty duet depicted a newlywed couple undergoing the awkwardness and discomfort of "becoming one." Dancers Jenny Mendez and Christopher Whitney tied themselves in a knot and struggled to maneuver - a clever allegory for marital relationships. After fighting and separating themselves, the piece concluded when Whitney walked back to Mendez. Rather than simply crossing the stage, he moved like a decrepit geriatric. Upon reaching Mendez, the two embraced and shifted their forms into a single structure that slowly but steadily gimped offstage. Mendez and Whitney seamlessly shifted from characters of a married couple to a single form that embodied love that endures the burden of time, demonstrating a mastery of craftsmanship and expressivity.

Another remarkable performance of the evening was Pseudopodia, a tour du force solo performed by Jun Kuribayashi. Kuribayashi entered the stage rolling and shifting like an organism suggested by the title of the performance. Kuribayashi's supremely strong, nimble and expressive form was beautifully silhouetted by the minimal lighting of Neil Peter Jampolis, who has worked with Pilobolus for over 25 years.

Rushes, a bizarre and dreamlike journey into the mind, concluded the show. A motley collection of American archetypes - the flapper, the hobo, and a trio of 19th-century Asian and European immigrants - clustered together in chairs five times too small, waiting. A single light bulb inadequately hung above them. The sounds of a train, rushing water, flies, and other oddities filled the atmosphere. The dancers hunched and tiptoed about, in manners either demented or comic, but decidedly quirky.

A short film by Peter Sluszka depicted the dreams of a hobo though shifting digital images of nature and random objects. Like its dream sequence, Rushes weaves together images and relationships between these characters that are as poignant as they are transient.

Though renowned for their superhuman strength, it is Pilobolus' ability to communicate human intricacies and oddities that is its greatest asset. Pilobolus has a rich history, but the future of the company is not in jeopardy of losing its equally trademark invention and wit.

Contact reporter Hannah Rolfes at hannah.rolfes@richmond.edu