Attack Theatre spent eighteen months working on their latest piece, Remainder Northside. For that year and a half, they taught creative movement at various Northside schools, after-school, and summer programs. In getting to know the youth of the neighborhood, they created an hour-long group dance that loosely shared the kids’ thoughts and experiences.
Before the show began, the company gave the audience a taste of their creative process. The directors and dancers spoke about how they turned the stories they’d heard into movement. One child had spoken of a gym teacher who swung his whistle— that became a circle of the dancers’ lower arm. Another remembered a trip to Cedar Point—that manifested as a “pointed” gesture with straight elbows.
In classic Attack fashion, co-directors, Michele de la Reza and Peter Kope, had the audience try the movement from our seats. Rather than reading a program note, we understood the through-line of the show by doing the choreography ourselves.
To open the piece, the dancers entered as if arriving at school. They placed their belongings in lockers and took their seats on a bench. De la Reza performed slow movements behind a see-through scrim while the dancers followed along; the section was reminiscent of a game of Simon Says.
One by one, the dancers broke from the bench to perform individual solos. Anthony Williams moved between spotlights, sometimes with an inquisitive feel, but sometimes tentative, with fear behind his eyes. Kaitlin Dann’s solo had a similar tone, emotionally back and forth. Both dancers moved swiftly in and out of the floor. Dann moved with precision down to her fingers, and Williams with sleek elongation of his limbs. Dane Toney finished the section, covering the space with long lines and lightness on his feet.
The musicians (Dave Eggar, Chuck Palmer, and Domenica Fossati) set the tone for each section, moving from atmospheric to rhythmic to experimental. At one point, they switched instruments with one another. And a few times, they danced right alongside the company members.
Remainder utilized a sparse set, and the choreography centered on highly physical movement. Anyone who has followed Attack over the years knows their stage design can be complex and their theatrics can drive a show. Here, the dancing reigned supreme.
Ashley Williams and Dann performed a unique duet where they tossed themselves to the floor with athleticism. Later, the men performed an equally impressive duo. Both pairs partnered with fluidity and strength. The four company members came together in a group section while de la Reza matched their movement from the rafters. A sense of wonderment filled the theater.
In another section, the dancers used their own bodies to create rhythms that turned into a dance party of sorts. Although the celebratory nature was a nice change of pace, the movement felt novice.
Later, there was a moment when the piece seemed to be ending. The dancers sat, childlike with awe, watching de la Reza solo as if a mother figure. The group joined her in a hopeful phrase, laying footsteps in a pathway while de la Reza lit the space with a lantern. The image was touching and would have made for a lovely and subtle close.
Instead the group came together in one last phrase. The musicians picked up the pace singing “I’ll go wherever you go, wherever our footsteps lead the way.” Each dancer showed optimism and community in group partnering interspersed with solos. Although their technique shined, the choreography was a bit sentimental.
In Remainder, Attack reminded us of their capability to pare down humor and theatrics, highlighting instead their remarkable partnering and technical abilities. Even more, the piece gave voice to an important Pittsburgh community and showed the universality of children’s experiences everywhere.