A sizeable crowd convened for the final performance of Attack Theatre’s “Assemble This” at the Andy Warhol Museum Thursday night. They were no doubt ready to grab 15 seconds of fame (as opposed to Andy’s 15 minutes) by engaging in the collective repartee that comes with this format.
There were more than 70 (it’s hard to count given the unorthodox mobility of the audience) in the Warhol lobby when emcee Gary Pletsch called their attention to Attack’s Blank Canvas, performed below some of Andy’s shoes and with an extra “Pop” of energy.
But then he asked them to do a quarter turn and face Andy’s iconic yellow self portrait (1986 ) that greets visitors when they enter his house. Hm-m-m. This posed a new problem because Warhol’s art is so direct and familiar. The audience would have to go behind the usual to the unusual, which seemed a harder task than with some of the abstract renderings that they found in some of the previous galleries.
Well “Andy” generated responses like “narcissism” and yes, “Steeler colors,” “intense, gaunt stare,” “jowly” and “volcanic” (referring to his plumed hairdo). Dane Toney became a “bewildered lost soul in this world” to cellist Dave Eggar’s enticing pizzicato. One particularly successful improv resulted from “artificial top and solid base,” involving Michele de la Reza and Peter Kope in sexually inviting interplay.
Did I hear a repeat of “Swan Lake” from the usually ever-imaginative Eggar? I thought that was against the rules to duplicate previous tunes. No matter. I don’t know how these performers kept everything straight.
The ensemble also made the most of “dark mouth,” as you can imagine. That encompassed biting ass and ear and sundry other parts of the anatomy. Then onward to the fourth floor, where the resourceful Eggar played a terrific brand of elevator music for the lucky passengers.
There the audience was confronted with four of Andy’s Campbell’s soup cans — just for the record, Beef with Vegetable and Barley, Onion made with Beef Stock, Green Pea and Pepper Pot. The audience found them “redundant” and “repetitive” and “hard outside and soft inside.” One viewer called it “personal.” His name was Michael Campbell — honest.
As usual, Eggar and percussionist Charlie Palmer had control over this section. It produced “repetitive childhood memories with an Americana twist” for Ashley Williams and Kope, who had an instant hair fetish. We also got “competitive and nurturing inside a hard container,” difficult to pull off, and an overlay of “sloshy.” Did I catch a “Nut”-ty “Waltz of the Flowers” from Eggar?
Descending to the second floor, Attack trumpeted Keith Haring’s “Untitled Element,” a large white elephant covered with the black outlines of Haring’s symbolic Radiant Babies. There were red accents in the tusks and platform. Okay, forgive me. Being a newsperson, I immediately thought, “What’s black and white and read all over?”
The elephant produced “sunburned, ” both a “starving” and “pregnant” elephant” and “people sucking life out of the elephant.” Attack chose a “puzzle” motif, which was self-explanatory and enterprising with interlocking dancers. Then there was “a surprising, emerging point.” That became a scenario with Kope playing with Eggar on cello. I had heard of four-handed piano playing, but never four-handed cello! Palmer was encouraged to play “inside” his drum box, while the others supported and followed him around the gallery.
Back down on the main floor, but in the theater, Attack’s final premiere unfolded, particularly thoughtful and intimate, as if it was about the process. I’ll still have more to say on Attack-ing next week.