PB_TMOG's "Ayudapii" Makes List of Year's Unique Performances

PB_TMOG's "Ayudapii: The Primitive (The Evolution of Need: Phase 1)". Photo by Tim Summers

A few weeks ago in an empty storefront just steps away from my own front door, stretches of chain link fence, black plastic, and some of the distinct accoutrements of Halloween began to appear at the corner of Broadway and Republican Street. North Capitol Hill was getting its own haunted house. Alas, as reported by our neighboring neighborlog CHS, it was not to be. I was surprised to find myself a little disappointed by the news. Not because I had any particular hankering for kitschy costumes, canned sound effects, or fake gore. Not because I need more strobe lighting and stage fog in my life, either. I realized that what I was yearning for was the kind of anything-can-happen experience that sets you on edge because you're never quite sure what's coming next, or how, or from which direction. Outside of a haunted house, I wondered, where could I find that kind of performance?

I didn't have a long wait at all, it turns out. PB_TMOG's Ayudapii: The Primitive (The Evolution of Need: Phase 1) (previewed here; Nov. 12-14 at Open Flight Studio, tickets $14) is definitely not your haunted house. Aside from having nothing to do with Halloween, the music is live, the designs are professional and the tone of the evening is the opposite of kitsch. This is your haunted house's older brother's smart college friend. It just might be the most unique performance I've seen all year. If you're the kind of person who's excited by things that are experimental and a little bit risky, you should probably buy tickets now, because seating is limited and there are only three performances left.

The evening begins downstairs in a narrow, amber-lit hallway just off of University Way. After a brief prologue/monologue that might best be described as claustrophobic, (Paul Budraitis at his spooky, post-apocalyptic best), the performance moves upstairs into a faceless studio draped with black plastic where each of the audience of about twenty are invited to take seats on fabric rolls on the floor. The room is filled with ambient noises: hums, buzzes, and clicks; and I was often unsure which were a part of the sound design and which were coming from the building or the street below. The effect is both disorienting and very exciting. When the lights went out I almost expected to be grabbed from behind.

Sitting on the floor turns out to be an integral part of the experience. Set against the wistful live music of composer Christopher Hydinger, the main part of the performance unfolds through the audience itself. The dancers are almost entirely covered by their black costumes, the most notable feature of which is a prosthetic tail that brings to mind the creepy surrealist works of H.R. Giger.  As the dancers weave their way through the audience, seeing how your fellow audience members are reacting is all part of the show. Choreographer Paige Barnes and Hydinger have created something really interesting here. This is immersive performance: art from all directions and engaging all of your senses.

The choreography is smart and the visuals are fascinating. Perhaps the only potential drawback is the challenge of the seating. While I highly recommend sitting on the floor, it may not be feasible for everybody. A limited number of seats are available by reservation (additional info at the website). Seating everybody on the floor also creates some sightline challenges when all of the performers are at the front of the studio. I spent a lot of the night craning my neck to see what was going on. It was worth it.

The Evolution of Need is the first of a three part series. I can't wait to see what's next.