DEFYING GRAVITY… AND CONVENTION
Since its founding in 1971, Pilobolus has made a name for itself by celebrating the expressive potential of the human body—its weight, balance, connectivity, and vulnerability. Now, 54 years later, their mission continues to resonate with vitality, humor, and heart. Currently in residence at The Joyce Theater (June 24–July 13), the troupe launches its Other Worlds tour with two rotating programs. I attended Program B, which features four diverse works performed by a six-member ensemble that more than lived up to the company’s revered legacy.
“Particle Zoo" Darren Robinson, Connor Chaparro (jumping), Ryan Hayes, Isaac Huerta.
(Photo by Steven Pisano)
The evening opened with “Particle Zoo,” a joyous, multi-suite meditation on group dynamics and belonging. It begins with three shirtless, barefoot men in white pants—Connor Chaparro, Ryan Hayes, and Isaac Huerta—locked in a fluid, acrobatic rapport. A fourth dancer (Darren Robinson), initially clothed in a shirt, enters longingly. When he removes his shirt, hoping to be welcomed into their trio, the others remain playfully elusive. His earnest attempts to connect, mixed with Robinson’s comic timing, add warmth and levity to the dance’s undercurrent of yearning.
“Particle Zoo" Ryan Hayes, Connor Chaparro, Darren Robinson (standing), Isaac Huerta.
(Photo by Steven Pisano)
In a subsequent suite, Robinson is embraced into the fold—his feet barely graze the floor as he’s passed from dancer to dancer like a feather on the wind. The momentum builds as all four men entwine in increasingly intricate lifts, rolls, and balances. At times, it evoked the innocence of boys at play; at others, a vision of queer utopia—glorious, shirtless bodies in effortless harmony. The athleticism on display was astonishing and breath taking—always tethered to human connection.
"Bloodlines" (Photo by Jason Hudson)
The tone shifted with “Bloodlines,” a duet by Hannah Klinkman and Jessica Robling that radiated intimacy and sorrow. Wearing skin-toned unitards smeared with blood-red markings, the dancers clung to one another in a relentless physical dialogue—twisting, spiraling, almost never separating. Two narrow white paths framed the space, while rose petals steadily fell like a blood rain. The visual poetry was stunning, and so was the emotional arc—from tenderness to anguish to uncertain resilience. As the lights dimmed, the audience exhaled in unison.
"Flight" Jessica Robling (lifted), Darren Robinson (back), Connor Chaparro (front),
Hannah Klinkman (with kite). (Photo by Steven Pisano)
“Flight,” which closed Act I, was more abstract than the previous offerings. The stage was strewn with cloud-like puffs of cotton. Klinkman, in a solo passage, addressed these clouds as if they were newborns, her gestures gentle and maternal. She gathered the clouds and curled into them. The tone shifted with the arrival of Chaparro, Robinson, and Robling in bomber jackets and aviator hats—part clown, part dreamscape. The choreography leaned into whimsy, culminating in a final image of Robling lifted high, her white cape billowing behind her like wings in a staged wind tunnel. It was a moment of pure theatrical magic.
"Flight" Jessica Robling (lifted); (on ground) Darren Robinson, Hannah Klinkman,
Connor Chaparro. (Photo by Steven Pisano)
The second act was devoted entirely to “Rushes,” which places the entire ensemble within a circle of white chairs on a round white floor. Each dancer assumes a distinctive character, channeling a kind of absurdist cabaret. The piece brings to mind the emotional surrealism of Pina Bausch, with a touch of circus spectacle. Chairs are endlessly rearranged, becoming vehicles for order, chaos, and narrative ambiguity. In one haunting image, Robinson walks in an unbroken path of chairs with Robling clinging to his back—endurance, care, and quiet desperation embodied in motion. My theater companion found profound personal meaning in the piece—and judging by the stillness in the audience, many others did too.
"Rushes" (Photo by Emily Denaro)
Throughout the evening, the music choices were impressively varied and well-matched to each work. Barbara Hyde’s music editing in “Particle Zoo” stood out for its seamless transitions, and Peter Sluszka’s animated projections in “Rushes” added a touch of a wistful dream.
"Rushes" (Photo by Emily Denaro)
Pilobolus remains one of the most unique and inspiring dance companies. Their blend of physical daring, artistic precision, and emotional authenticity continues to challenge and move audiences. Whether evoking childhood play, deep longing, or surreal dream logic, they remind us that the body, in all its complexity, is the most powerful instrument of all.
If you cannot catch Pilobolus at The Joyce Theater, then be sure to keep an eye out for their nationwide tour. They are not to be missed.
"Rushes" (Photo by Emily Denaro)
Other Worlds Collection
Pilobolus
The Joyce Theater, 175 Eighth Ave
ends on July 13, 2025
Tue-Sat at 7:30pm, Sat & Sun at 2pm
for tickets ($12-$82), visit The Joyce
tour continues; for dates and cities, visit Pilobolus
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"Lamentation Variations" from Program A: Connor Chaparro, Ryan Hayes, Isaac Huerta,
Hannah Klinkman, Darren Robinson, and Jessica Robling. (Photo by Emily Denaro)
Gregory Fletcher is an author, a theater professor, a playwright, director, and stage manager. His craft book on playwriting is entitled Shorts and Briefs, and publishing credits include two YA novels (Other People’s Crazy, and Other People’s Drama), 2 novellas in the series Inclusive Bedtime Stories, 2 short stories in The Night Bazaar series, and several essays. Website, Facebook, Instagram.
