Road conditions were much better for Attack Theatre’s sojourn to August Wilson Center on Wednesday, so much so that the members were able to park their trusty Bat Van just across the street, a a much-appreciated treat in the snow-laden Downtown environment.
The performance here was a little more formal at the start as the audience gathered around a black-and-white Teenie Harris photo of four children who, in turn, were gathered around a saxophonist with couples dancing in the background.
Things were a little tenuous at first, partly due to the large open spaces at Pittsburgh’s terrific new landmark, where the words sometimes dissipated into the air. Then too, the onlookers in the audience had a tendency to raise their hands, as if in a class, and observations initially centered around “anxious” and “self-conscious,” perhaps a reflection of their own involvement in Attack’s creative process. However Dave Eggar played “Some Enchanted Evening” for an anxious duet between Liz Chang and Dane Toney as their eyes haltingly met “across a crowded room” — nice touch.
We climbed AWC’s signature staircase, where the imposing temple-like wall drew comments like “vulnerable.” Hm-m — no references to the African temple-like setting. But Eggar and drummer Charlie Palmer, along with percussionist PJ Roduta, worked out a pulsating musical interaction.
The finale centered around Thad Mosley’s “Allegheny Trace,” where one observer spontaneously dubbed the large, oddly-balanced iron and wood sculpture with a winged piece at the top as the final lift from “Dirty Dancing.” That seemed to break the ice and started a spirited commentary. Several viewers found the Pittsburgh connection in Mosley’s work without ever knowing the title — an impressive feat.
Using the audience’s other suggestions, the performers became “something we’re not,” as Eggar did a faux pas de deux with Peter Kope and Palmer took over duties at the cello. Kope put a McTwist on the “Dirty Dancing” comment and suggested the dancers try to use him in the iconic Baby lift from the movie. No go, of course, but it was fun watching them try.
Maybe “Allegheny Trace” was oddly balanced, but it provided a Spiderwoman moment for Michele de la Reza (with help from the other dancers), as she precariously began climbing the large door behind the performers. When the audience gathered on the other side of the door in the studio, lined with mirrors and windows, Attack put all the original and improvised material together. But the Spidey moves took a different turn, so to speak, because the door, at least 20 feet high, began to revolve. But then, that’s an Attack trait — putting all your resources to work.
Tonight it’s on to the Frick Art & Historical Center. See you at the dance!
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