Perhaps the title “On Stage” is a misnomer. I’ve been following Attack Theatre for most of its 25 years as they led me all over the Pittsburgh area, indoors and out, on stage, yes, but mostly offstage in the nooks and crannies of a city that withstood many Attacks.
But this year promises to be something extra-special.
The title says it all as they “attack” audiences, drumming up new supporters for this cheeky, but seriously talented troupe of artists. And they “attack” new and wonderful sites for dance, all the while “attack-ing” the dance itself.
What follows is the beginning of an occasional series as I stalk the Attackers during their 25th season.
Attack-ing Audiences
The first event actually was the season announcement. Supposedly, although AT had leaked most of it beforehand. No. matter. It was a chance to mingle with city’s most gregarious, effervescent, badass group of artists and their particularly suitable followers.
It was the perfect location — a raw, deconstructed, yet inviting space on the North Side called HIP at the Flashlight Factory. There the company blurred the lines, as usual.
There was a take-off on their “suitcase” piece, which serves as an inspiration for all manner of dance with its contents. It was also a chance to meet the news Attacker, Michelle Yeh, who seemed to have an extensive ballet background with clean lines. But more was to follow…
Some Assembly Required (Sept. 14)
One of Attack’s signature works. An interactive, improvisational piece that is really different each time, I first saw it at the Frick Art Museum in Point Breeze and still remember the performance. They’ve put together this dance/art puzzle all over the city. One year it took place at 12 galleries in two weeks (on the tail of a snowstorm.
This was a repeat of one of those performances at The Andy Warhol Museum, full of surprises as usual. Andy would have liked it.
Co-founder Michele de la Reza led the expert questioning of the participants, about 40 in all at this performance, drawing inspirational reactions from them to transfer into movement. Husband and co-founder Peter Kope took notes and chose which phrases would work best.
The dancers had performed a skeleton outline of the choreography, but, with the viewers’ input, noshed on fresh ideas that morphed differently each time they repeated.
And you have to give AT credit for its use of live music, in this case a cellist and percussionist. It makes all the difference in the world.
