Audiences see theater in the making with Attack's 'What?'
Share with others:
Risk is an accepted part of the dance business.
Most people think about the physical part of it, although artistic risk can ultimately be the most satisfying. But how about the next step -- to expose the artistic process, warts and all, to an audience?
That is what Attack Theatre had in mind when it concocted "What?", which was subdivided into "What is What?" and "This Is What." For the first time, the Attackers invited audience members into the intimate urban confines of their rehearsal space a half a block away from the Pittsburgh Opera studios in the Strip District.
The group wanted to conceive a new work in just three weeks, also pretty risky when you consider that some choreographers spend months or even a year on a project, and Broadway shows could spend six weeks on just previews in order to tweak things (although the long gestation of "Spiderman" was in a category all its own).
I was able to attend two of the three open rehearsals. Studios are something to which I'm privy as a critic. But I happen to love the creative process -- noting the interaction between choreographer and dancers and watching shapes emerge, leading to the construction of phrases and building toward the finished product.
That came under the "What is What?" segment, which began just two days after the company returned from its summer vacation (and in remarkably good shape). To be fair, there were a few seeds of inspiration already on hand, like a dance phrase, Attack's signature word play (this time using chalk on various surfaces), a ramp and a musician/living area decorated with yellow caution tape and the chalk outline of a murder victim.
Director Peter Kope (no, he didn't dance this time) and his gang of five -- Michele de la Reza, Liz Chang, Simon Thomas-Train, Dane Toney and Ashley Williams -- engaged in liberal improvisation and audience feedback.
By the second open rehearsal a week later, some things had disappeared, like a puppet show and percussionist Ian Greene, who was replaced by mouth organist Stu Braun and his more soulful sound.
A structure was emerging, listed on a long roll of white paper, including "Hangman," "Thou Shalt Not [Covet Thy Neighbor's Wife]," "Apple" and "Building." The scenic design and audience arrangement had been rearranged, and a more robust audience provided detailed and opinionated feedback.
First Published September 26, 2011 12:57 am
