They were selling Christmas trees outside Construction Junction, but The Pillow Project already had its own, a remnant from its “Sophisticated Junk” concert in October. It was a Charlie Brown tree, decorated with electrical cords and computer odds and ends. The real thing, with a twist.
That statement could easily be applied to The Pillow Project, which came up with “Sorta Saturday” last weekend.
When it comes to the holidays, there are parties galore. But Pearlann Porter and her Pillow Project contingent staged an urban-style soiree, with homemade hors d’ouerves, for the group’s fifth anniversary celebration.
As usual, a Pillow Project production comes wrapped in a multitude of ways. This one had an open-floor plan, focused, more or less, around DJ Sorta (a.k.a. Anthony Sorvala). He led a contingent of
alumnae who made major contributions to the gritty look of the Pillow — the indestructible Beth Ratas, lean and lanky Ben Wegman (now of Liz Lerman Dance Exchange), hip hop artists Dionna PridGeon (now operating out of Chicago) and Angela Essler (still hanging around Pittsburgh– a bonus) and the baby of the bunch, Kayla Horgan (Point Park University).
I think it may have been my favorite arrangement thus far — furniture groupings scattered around with performance areas in their midst. It allowed a lot of play for Porter’s current interest — improvisation. This time things were structured quite nicely, all of it emanating from Sorta’s dynamic assemblage of tunes that allowed for various textures and tempi to inspire the movement.
And inspire it did.
Like PridGeon’s solo where the other dancers periodically helped her get “unstuck,” and a peekaboo table dance with Horgan, PridGeon and Wegman. I loved the way the petite Horgan fearlessly went toe-to-toe with Wegman and PridGeon and how Ratas moved gracefully out of her comfort zone. At the end, Essler poured some water on the floor and they all began imitating Sorta’s considerable scratch technique with their sneakers.
Even tiny Chris Valle joined a growing list of audience members who were lured into the dance action. And PJ Roduta showed up with a scientific duet on rhythmic equations (PJ, DJ — get it?). It all ended with art, seen through the dark lenses of Kevin Wenner. Part Jackson Pollak, part Sigmund Freud and sporting a variation on a gas mask, Wenner proceeded to cover one large face with another and then strip it away. Extreme art/compelling drama.
All photos by Derek Stoltz.
Posted by jvranish 
“The Bench” isn’t your normal holiday treat full of tinsel, glad tidings and mistletoe. But it does provide a sense of family, which is what the holidays are all about, from Thanksgiving to New Year’s and everything in between.
standout scenes include the initial love duet and a conversational dinner with the family. Lalama’s score lays out a rich landscape of sound for the dance, with a live quartet where he plays keyboards and brother Ralph, a wonderful saxophonist in his own right, in tow.
But it’s the young cast that brings the story to life. They have to run the gamut, from child-like fights to the ancient aunt who commands everyone’s attention. Ahmad Simmons (Man/Father) and Angela Dice (Woman/Mother) have the maturity to carry roles far beyond their current means. James Washington (Son) has a robust technique and beautiful control of the movements — a fight between him and his father is a highlight — and Annalee Traylor and Naila Ansari provide wonderful support as the daughters.
