Published: Jun 24, 2006 12:30 AM

Pilobolus carries us away again

Orla Swift, Staff Writer

DURHAM - It's easy to forget that Pilobolus is made up of human beings. When the curtain lifts on a typical dance by the Connecticut-based company, it feels as if we're watching a newfound species through the zoom lens of a Discovery Channel documentary. The dancers are exotic and irresistible, as the troupe's perennial packed houses at American Dance Festival attest each year. And this season's program, which opened Thursday, is no exception.

From “Prism,” one of two new creations in the company's 35th anniversary season, to the vaudevillian “Solo from the 'Empty Suitor,' ” Pilobolus demonstrated the physical and artistic dexterity that endears the troupe to modern dance aficionados and detractors alike.

The otherworldly pieces are the strongest. And Thursday's program (which changed slightly Friday but repeats tonight) teemed with fascinating creatures.

Sometimes they're shaped like humans, as in “Gnomen,” a male quartet from 1997 that evokes ancient civilizations with odd rituals that include a rotating ostracism carried out with an expressionless sense of habit.

More often the creatures look like nothing we've seen before. They're peculiarly shaped composites, made up of two or more dancers attached to one another as if their skin were Velcro.

“Prism” is full of such creatures. Set to a rock score that includes Coldplay and Yo La Tengo, the lively new piece feels like a journey from a barroom mosh pit to the ocean floor. It takes a few minutes for its personality to burst through. But once it's in full swing, especially in the pulsing undersea- style sections, it's mesmerizing.

“Day Two” is even more alluring. Set to a percussive score that blends the Talking Heads with Brian Eno, this Pilobolus classic imagines Earth on the day after its creation. Six male and female dancers – all nude but for skin-tone thongs – evoke a world exploding to life, from humans to the tiniest cells bouncing to and fro.

The program's two comedic works, the “Empty Suitor” solo and the new “Memento Mori,” are clever and lively, and the audience laughed right through them. But they lack Pilobolus' trademarks – the sculptural athleticism and strange mystique that make the troupe's best works look like nobody else could have created them.

The “Empty Suitor” solo from 1980 is classic vaudeville, with a hapless man struggling to maintain his dignity while chasing his hat through all sorts of obstacles. Dancer Andrew Herro performs it charmingly, but we could as easily imagine Harpo Marx in Herro's place.

“Memento Mori,” a duet created this year, is a blend of “The Honeymooners” and “The Three Stooges.” It's riotous in parts – especially the combative operatic interlude. And it's also a bittersweet reminder of the brevity of our lives, and of how much we take for granted. But it's too long, and its emotional impact wanes well before it ends.

Some dancers faltered at times in the most challenging pieces. These glitches remind us of how demanding and idiosyncratic their choreography is. But longtime fans who are accustomed to Pilobolus' superhuman flawlessness may be disappointed by this cast's momentary struggles. Still, a flawed Pilobolus performance exceeds the best that so many contemporaries have to offer.

Entering Pilobolus' world is like filling up at a fueling station for beleaguered and cynical souls. It reminds us of the untapped strength in our bodies and imaginations. And it hints at how vast and varied this universe is, full of life and infinite mysteries.