Pilobolus: Summer 2024 Season

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I wasn’t impressed by the repertory Pilobolus brought to The Joyce in their last season there.  As always, they danced athletically, were wittily costumed and beautifully lit, but the works were show-offy and superficial.  Entertaining, yes; but not soul satisfying.

In contrast this season Pilobolus brought two brilliant programs, Dreams and Memory, with works that probed deeply into love, friendship, society and, of course, sexuality, including their 1978 masterpiece, “Untitled.”

This is not to say that they didn’t occasionally veer into the silly and inconsequential—the delightful “Behind the Shadows,” a tour de force shadowplay, both humorous and magical—but here it was a comfortable contrast to the darker, more expressive ballets.

In Dreams Pilobolus’ reputation for surrealism was realized in the opening work, “Thresh|hold.”  Using electronically distorted versions of the aria “Casta Diva” from Bellini’s opera Norma, “Thresh|hold” was choreographed by a committee of artists which is the way most of Pilobolus’ repertory are created.

Hannah Klinkman, a Pilobolus stalwart, lay forlornly at a portable doorway structure designed by Neil Patel through which what seemed like a horde of warriors dressed in costumes by Sarah Laux that evoked medieval or Roman soldiers pushed through the door.  They variously abused poor Klinkman who finally vanquished them (Connor Chaparro, Quincy Ellis, Sean Langford, Derion Loman and Marlon Feliz).

Did this happen to the unlucky lady, or, was it all a dream?

This first program included “Gnomen” which showed off the athletic prowess of its cast: Chaparro, Ellis, Langford, and Loman.  Barely clad in dark shorts (Eileen Thomas, costumes) they wrestled with each other, lifted one another and otherwise displayed feats of strength, somehow conveying emotional resonance beyond the mere athleticism.

On the other hand, “Bloodlines” was the tender, intertwining duet for two extremely fit women: Klinkman and Marlon Feliz, who had an approach/avoidance relationship.

Memory brought back “Untitled,” a masterpiece from 1978.  This work had everything that made Pilobolus the world class dance troupe it became.

Choreographed by Pilobolus founders Robby Barnett, Alison Chase, Martha Clarke, Moses Pendleton, Michael Tracy and Jonathan Wolken, and using disarmingly and misleadingly pleasant music by Robert Dennis, “Untitled” began with two women (Feliz and Klinkman) wearing ornate 19^th century dresses as they lay on the ground having a pleasant picnic. (Costumes by Kitty Daly and Malcolm McCormick.)

As they rose they slowly grew into giants, their legs clearly those of men.  These now eight-foot tall women moved gracefully about soon joined by two fully dressed men (Loman and Langford) who flirt with them.  As the two ladies were lowered onto their own legs, their supporters proved to be two naked men (Chaparro and Ellis), a bit of a shock to the audience, softened by the beauty of the two.  The two women wafted about blissfully unaware of the four men until the naked men resumed their positions under the women’s skirts as they floated off.

This combination of period nicety, nudity and psychology and superb movement made for a hauntingly memorable work.

“Noctuary,” choreographed to music by Jad Abumrad, animated a large purple cloth turning it into a bed, a hammock, a floating cloud and even a swing.  The image of Klinkman held aloft in the outstretched cloth has remained in my mind.

Memory was completed by two full-company works: “Tales from the Underworld” and “Branches.”

It’s hard to believe that there are only eight dancers in Pilobolus. At times the stage seemed filled by scores of performers who changed completely from work to work thanks to the choreography, lighting, costumes and imagination of all involved.

Pilobolus (through August 11, 2024)

The Joyce Theater, 175 Eighth Avenue, in Manhattan

For tickets, call 212-242-0800 or visit http://www.Joyce.org

Running time: two hours including one intermission