Attack’s ‘Unbolted’ explores shifting perspectives

An Attack Theatre performance is a little like a roller coaster, filled with twists, turns and thrills.

In “Unbolted,” the modern dance troupe’s latest full-length show, that roller coaster was the uncharted twists and turns of life — and where they might take us if we open our minds (or, in this case, unbolt our chairs). The show opened Thursday at Pittsburgh Opera’s George R. White Studio in the Strip District and runs through Saturday.

For the first time in Attack Theatre’s 22 seasons, it set a performance in “the round.” It was more like a rectangle, though, surrounded by a hodgepodge of benches, bean-bag chairs, couches and seats at tables. People were encouraged to switch seats in between sections to get a fresh view and perhaps even mingle with others about their take on the show. Dancers and the choreography by Peter Kope and Michele de la Reza excelled at catering to crowds on all sides of the stage, not always an easy feat in this setup.

The performance was loaded with references to shifting perspectives. Props ranged from doll house-sized furniture to a gigantic metal chair that took all five dancers (Kaitlin Dann, Dane Toney, Anthony Williams, Ashley Williams and Sarah Zielinski) to assemble. The way they maneuvered wooden boxes and traditional chairs gave even more depth and dimension to the movement, as did a matrix-like web of blue cord that spanned the stage early in the show. Dancers also verbalized some of their differences while debating how best to build the chair.

The show was arranged into three sections. It opened on an upbeat note with dancers in black passing around a map, folding it, unfolding it and tilting their heads to study it. The second part had a more emotionally charged cinematic aura, with the cast in muted colors and dated clothes. A highlight was newcomer Ms. Zielinski’s powerful solo in response to others’ intense stares and gestures. It ended on a high with dancers scaling with joy the giant chair like a jungle gym. Woven in were bits where dancers read from instruction manuals for pragmatic (how to fix household things) and poignant (how to fix a friendship) purposes. While parts could have benefited from some tightening, overall it made for a strong arc in action and emotion.

Although abstract, there were threads of sentiments between dancers that carried throughout the show, which nicely provided a variety of entry points for audiences to make a connection to what was unfolding before them. The music was similarly varied, ranging from electronic beats and bluegrass to classical piano, plus live music by Pittsburgh-based artist Ian Green.

While engaging to watch, it all made you think: How different can something truly look with just the slightest shift in point of view? In a day and age when politics, in particular, have emotions heightened and people divided, “Unbolted” is a testament to what can be discovered when we open our eyes, minds and opinions — in a dance performance and in life.