Kalaidescopic views of limbs and backsides flashed on a screen. An army of human caterpillars slammed onto wrestling mats. Muscled men became weightless as if in outer space. Pilobolus Dance Theater once again offered a program of dance athleticism on Saturday (Jan 14) at the Birch Theatre, but this one was short on magic.

The company’s fearless and loveable performers gave it their all, but the range of expression was limited to a lot of tumbling and twitching. As always, every dance was created by committee, so the program lacked distinctive voices.

Of the five pieces presented, only Gnomen (1997), the program opener, had real emotional depth.

Gnomen, a quartet for men, was choreographed by Robby Barnett, Jonathon Wolken and others in 1997. It is dedicated to the memory of friend and colleague Jim Blanc who died of complications from AIDS, but one didn’t need that information to experience the warm tribute.

It began with horseplay that introduced unique personalities and the wonder of friendship. They wacked each other on the head, and as harp music wafted in, took turns lifting each other, reaching higher and higher. There was a “wow” moment when a man seemed to float. It was touching to see three men cradle their friend – on their curved feet, and gently rock him side to side.

Pilobolus, now celebrating its 40^th year, is known for conjuring strange images using the human body. Millions have enjoyed the commercials where silhouetted dancers take the shapes of cars and creatures. But it has competition from groups like Cirque de Soleil, and is trying to advance its art form.

This program included two works from 2011 with outside artists: Korokoro, a collaboration with the Butoh artist Takuya Muramatsu of the Japanese company Dairakudakan, and All Is Not Lost, with the pop band OK Go, famous for its choreographed videos. (Google the group and you’ll get the idea…their best is on treadmills).

Korokoro, which means “rolling” in Japanese, had six dancers in barely-there skin colored costumes roll onto the stage like giant rolly-polly pillbugs. They stared and stretched into planks in slow Butoh fashion. At its best, the work evoked early life in the swamp and rewound back to the big bang. Lighting by Neil Peter Jampolis flashed stardust effects onto the powdery white bodies.But the exploration was unsustainable and slipped into silly antics. A woman puffed up her cheeks until she popped like a balloon. The work had two parts that didn’t connect and the whole was too long.

Still,one has to be a real grump to find fault with the fun-loving romp All Is Not Lost. Surely Busby Berkley would approve.

Bodies in blue-green unitards intertwined atop a clear table, and all of the action was captured by a camera set up below. The swirling pressed body parts and scrambling was then projected onto a screen. The audience had the chance to see the music-video made in real time.

The most intriguing work combined acrobatic movement and a narrative. Jampolis’ exquisite hazy blue lighting set the scene for Duet, a dance that followed the intense attraction of two women. Music from the album Rosensfole, based on medieval songs from Norway completed the saga. Agnes Buen Garnas’ clear voice was the thread that tied abrupt shifts from affection to domination together.

The Duet performance was dedicated to Rebecca Jung, who died in 2011 and helped create the piece. Dancers Eriko Jimbo and Jordan Kriston were fully engaged and telegraphed the idea that even a volatile relationship is worthwhile and can end peacefully.

The evening closed with Megawatt,a Pilobolus collaboration by Wolken and many others from 2004. Set to music that includes Primus, Radiohead, and Squarepusher, the work is a head-banger - it's literally filled with summersaults.

Powered by buns of steel, dancers flat on their backs marched across the stage like army worms. They flipped to their bellies and flailed in rhythmic seizures. Each time they stood up, they collapsed as if shot by a sniper, or they became a projectile themselves and rolled like a cannonball. It was a gritty spectacle notable for its youthful energy and knee-pads. One was left marveling at the troupe’s amazing stamina, and that soon shifted to thoughts of bruises, mat burns and ice packs.

[This review is of the updated evening program, indicated by a one page insert. The program printed in the thick Season 43 program lists: The Transformation (2009), Seraph (2010), and Untitled (1975), which has two women in 19^th century dresses who conceal a pair of naked men, though presenters have opted for dancers to wear dance belts. There was no announcement regarding the program change.]

The La Jolla Music Society’s dance season continues with the Mark Morris Dance Group on April 28, and MOMIX on May 5, 2012.

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