Dance Review: The Pillow Project’s Second Saturday Speak Eazy

“Second Saturday” at the Pillow Project keeps getting better and better. To call it a “happening,” rather than a performance or show, is right on target. Who else in the city combines the most happening art, dance, music and culture, and turns it into something that feels like the hottest underground club in town? Pearlann Porter, that’s who.

The company’s Point Breeze hub, “The Space Upstairs,” was jam packed Saturday night. Not surprising, as they are typically full for the regular monthly event. The theme this time, “The Speak Eazy,” featured sounds of the 1920s to the 1950s by musical guest and host, Vie Boheme.

Boheme and her band kicked off the evening by explaining the subject matter they considered before putting the show together. Prohibition, public drunkenness, and “the threat of the woman’s mind” all made the list. To go along with the topic, Porter announced that there would be a secret password to receive the “bathtub gin” after 10 p.m. The stage was set.

“Can I have some movement?” Boheme ad libbed as her band began a smooth swing. Audience members lounged throughout the space on vintage couches, chairs, high tops and floor pillows, waiting for the first dancer. “I said. Can I have some movement? Boheme asked again.

As usual, the dancers seemed to appear out of nowhere, like they walked in off the street and decided they had to express themselves through movement that instant. All of the dance was performed in Porter’s signature style of “jazzing the music,” a technique she created that uses improvisation to physically express sound.

This show happened to coincide with the Pillow’s Summer Intensive Study Program, which meant that Porter’s students had the opportunity to perform alongside professionals. One by one, they made their way to the open space, reserved for artists, and let the keyboard, bass, drums and horns infuse their bodies with early jazz. Boheme, also a dancer, interacted with each performer, singing to them in acknowledgement.

In between band sets, DJ Jay Malls provided sounds of that period on original 78 records. The quintessential scratchy sound accompanied classics like “Come Rain or Come Shine.” Boheme encouraged people to mingle, enjoy a drink at the bar, or even a hot dog from the Franktuary truck parked outside.

To add to the entertainment, Jordan Bush created spontaneous drawings throughout the space. Special guest, Alaina Dopico, read her poetry while a duet of dance emerged. And new “fellow” of the Pillow Project, Riva Strauss performed part of a solo to premiere in full this fall. She described the piece as “an awakening…coming to a conscious understanding.” Dressed in a long, blue, fitted gown, she danced on a gold structure, raised from the ground. Although her face was masked, the intensity and articulation of her body communicated the emotion clearly.

It is hard to say when the evening ended. Porter’s functions can go on well into the early morning hours, and only the most passionate last that long. I was asleep before the stroke of midnight, filled up with the thriving art of Pittsburgh’s unconventional, and the hope that the secret of “Second Saturday” makes its way, in loud whispers, around the city.




Filed under: Adrienne Totino, Prose, Reviews: Performing Arts