Lisa Race and the ballroom of our common loss; Inbal Pinto, Pilobolus and the dream operator | Arts
Arts
INDY Week's arts blog

Archives | RSS | Follow on

Friday, June 22, 2007

Lisa Race and the ballroom of our common loss; Inbal Pinto, Pilobolus and the dream operator

Posted by on Fri, Jun 22, 2007 at 11:24 PM

If you make tracks you can catch one of these on Saturday night, when Pilobolus closes its 2007 ADF stand with what is easily the strongest work we've seen from them in years. That would be the world premiere of Rushes, Robby Barnett's collaboration with Israel's Inbal Pinto and Avshalom Pollak.

As the sound of a shortwave radio suggests just how far they are from any real entertainment, a hapless, rural sextet waste another evening--until, that is, an enigmatic, hunched-over man with a heavy suitcase filled with something literally dreams something better.

True, Rushes threatens early on to bog down in fruitless preoccupation with surface eccentricities. Thankfully it heads into deeper waters not a moment too soon. Imaginative, touching, humorous, and strangely humane, it's not the first time Inbal Pinto has carted us off to a foreign land, and only brought us part way back. Didn't David Byrne once say of these characters:

and you dreamed it all

and dreams tell your story

do you know who you are

you're the dream operator

Before that, B'zyrk rings true with its tale of backstage bickering among an extremely long-touring group of modern dancers and choreographers -- I mean Eastern European carnival artistes. Cheap laughs give way to something a bit more bitter, in sections where the characters contrast their ideals of one another with a considerably shabbier reality. Call Jonathan Wolken's work "knowing." To say the least.

But last night saw the only scheduled performances -- at least at this time -- of Lisa Race's deeply moving Garden: Retreat. If you were at the 7:30 performance, you either had a little extra moisture yourself around the eyes by the end, or you heard the tell-tale sniffles around you of all the people who did.

When we talked a couple of days before, Race said, "My parents are in their later 80s. My son, Sam, will soon be six. I’m at an age now where I’m thinking about lifespan. I've been looking at my mother and her older sister; how they both have gone through their later years, their different ways of exiting."

She continued,"At first I thought I was doing this for them. Then I realized, no, this was for me. I'm preparing myself for the reality of the future."

The sober intimacy of Race and David Dorfman's close-eyed, careful contact at the open conveyed, in an understated way, a couple trying to comfort one another. As the work developed, Race's meditation on the ground we grow from -- and ultimately return to -- culminated in a moment I have never seen truly work on stage before.

After their final, tender dance with one another, Race and Dorfman disengaged -- and went out to the audience to take new partners in the same dance. Those new partners in turn found others. Again, and again.

It seems that every time audience participation figures in a work, it never truly overcomes the division between the performance's world and ours. It's always at least a little cheesy. Everybody knows.

Except for Friday night. We were invited to join in the dance we all must take a turn in; to take our place, with grace, in the ballroom of our common loss.

It felt like an unexpected and very sudden family reunion. We were there to share the load. We belonged there. This time, the song in my mind was Lyle Lovett's:

we're all gonna be here forever

so Mama don't make such a stir

just put down that camera

and come on and join up

the last of the family reserve

How about you?

Tags: ,

Pin It

Comments

Subscribe to this thread:

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Arts



Twitter Activity

Comments

The Carolina, the Varsity, now the Chelsea. These movie houses were among the reasons we moved here 25 years ago. …

by JO in CHNC on The Chelsea Theater, the Last Old-School Art Cinema Standing in Chapel Hill, Might Close at the End of the Year (Arts)

Most Read

Most Recent Comments

The Carolina, the Varsity, now the Chelsea. These movie houses were among the reasons we moved here 25 years ago. …

by JO in CHNC on The Chelsea Theater, the Last Old-School Art Cinema Standing in Chapel Hill, Might Close at the End of the Year (Arts)

The Chelsea Theatre has to be saved! Chapel Hill and the Triangle would be greatly diminished without it. Other theatres, …

by Jonathan H on The Chelsea Theater, the Last Old-School Art Cinema Standing in Chapel Hill, Might Close at the End of the Year (Arts)

...as did I, Ms. Margolis -- in a very small handful of moments over a two and a half hour …

by Byron Woods, INDY Theater and Dance Critic on Theater Review: The South Is Hard to Hear in the Opera Version of Charles Frazier's Cold Mountain (Arts)

I certainly heard the accents.

by Elizabeth A Margolis on Theater Review: The South Is Hard to Hear in the Opera Version of Charles Frazier's Cold Mountain (Arts)

© 2017 Indy Week • 320 E. Chapel Hill St., Suite 200, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation