Attack Theatre puts twist on a classic

In its studio, a converted laundromat on Penn Avenue, Attack Theatre is preparing its next… In its studio, a converted laundromat on Penn Avenue, Attack Theatre is preparing its next major appearance on the Pittsburgh stage. Artistic directors Peter Kope and Michele de la Reza are polishing their choreography in the final weeks before their performance.

Local actor Martin Giles joins Kope, de la Reza and ensemble member Jil Stifel in recreating Igor Stravinsky’s composition “The Soldier’s Tale.” The project is in collaboration with the Pittsburgh Symphony Orchestra, part of the Mellon Grand Classic Series.

Stravinsky wrote “The Soldier’s Tale” in 1918 after fleeing his native Russia for Switzerland during World War I. He considered the piece his “final break with the Russian orchestral school.” Based on a Russian folktale about a soldier who makes a pact with the devil, “A Soldier’s Tale” has Russian rhythm and sound, but one can hear the influence of jazz and ragtime styles evident in Stravinsky’s work.

“Stravinsky was a genius, a revolutionary,” Kope said. “That rebelliousness is part of this piece.”

Kope and de la Reza moved to Pittsburgh in 1992 after working with several other theatre and dance companies. They both worked with the New York-based Perks Dance Music Theatre on a continuation to Stravinsky’s popular work “The Rite of Spring,” titled “The Left of Fall,” which ran in Pittsburgh three years ago.

“The Soldier’s Tale” was written for 12 instruments and four dancers with speaking parts. Although some productions use more people, de la Reza favors a modest number of players.

“It’s the grandness of theatre and wonder of the symphony on a more intimate scale,” de la Reza said. “You can have a more personal connection with the people on stage.”

The unusual structure of “The Soldier’s Tale” posed some challenges to Attack Theatre’s ensemble. Creating a narrative dance, with a clear story and flow, was difficult without evoking the style of mime. With both movement and words to deal in, Kope hopes to “take the best of both worlds.”

“I’m not used to acting through my voice,” de la Reza said. “It’s demanding to integrate the physicality of the dance with lines of text.”

Kope and de la Reza believe “The Soldier’s Tale” has broad appeal because of its universal theme: greed.

“It would appeal especially to anyone fascinated by demonic lore and legends,” de la Reza, cast as the Devil, said.

Kope, who plays the soldier, compared the story to the song “Devil Went Down to Georgia” by the Charlie Daniels Band.

“The soldier even has a violin,” Kope joked.

Each section of the story, while containing common themes in music and movement, has its own flavor.

“Some parts, like the Royal March, are like a circus, where we get everyone involved,” Kope said. “Others are slower, a little more subtle.”

The production will feature violinist Pinkus Zuckerman, and is directed by Pittsburgh Symphony conductor Daniel Meyer.

“The director is ‘narrative police,’ telling us what would and wouldn’t work,” Kope said. “It’s good to have an influence outside the ensemble.”

De la Reza considers “The Soldier’s Tale” to be “funkier than most symphony events.”

“Young people will get a kick out of it,” de la Reza said, “because it’s more edgy than what they’re used to.”

“The Soldier’s Tale” will be performed at Heinz Hall downtown on November 5, 6 and 7. A special talk-back session will be held Nov. 5 for students who attend through PittArts’ “Pitt Night.”

“It’s great to keep connecting back to the audience, finding out what works and what doesn’t,” Kope said. “We’re Attack Theatre because we never want to be afraid to tell a story.”

For more information, go online: www.attacktheatre.com.