Exploring quantum physics’ relationship with romance

Einstein described quantum particles as "spooky action at a distance," and the behavior of particles and waves and their relationship forever perplexed him. When dancer-choreographer Amanda Miller and filmmaker-videographer Tobin Rothlein wanted to explore the same scientific phenomenon through dance, theater technology, and romantic relationships, they had a universe of dots to connect.

Their company, Miro Dance Theatre, premiered their utterly unified Spooky Action last month at Indiana University of Pennsylvania (which commissioned it) and performed it Saturday night at the Kimmel Center's Innovation Studio.

This spare, elegant, and emotive dance had multiple elements to harmonize, not least of which was the magnificent minimalist set designed by the M Lab - Rothlein's tech team. Dancers Dana Dlugosz, Joy Havens, Scott Lowe, and Paul Struck coiled through openings between six rectangular screens - roughly eight feet wide and 15 feet tall - suspended from a steel demilune. Lighting designer James Clotfelter calculated their sizes to create a "forced perspective," which made them appear to match exactly.

Having danced in Philadelphia for 25 years, Struck is amazingly better than ever. He opened the performance with measured steps, holding his hands up with the number indicating how many he took. Ingeniously, Miller's choreography explored the space between particles through the metaphor of people, and how, once either collides with the other, they are forever joined, no matter how far they veer away.

Struck's sinuosity was at once purposeful and tender as he corkscrewed his body in solos and with the other dancers. He was well met by them as they yoked arms around one another's shoulders and then slipped away to reform new patterns and partners. The impetus of one movement led to another.

British composer Pete M. Wyer has worked with this team (and others in Philadelphia) before, and his soundtrack, combined with a narrative recorded by actor Pearce Bunting, was as silvery and shimmery as the set. Clotfelter's lighting warmed up the gray tones of Millie Hiibel's street-wear costumes.

But Rothlein's video effects were the big bang for this little galaxy of stars. With the latest video-projection system acquired from the rock concert arena, the Hippotizer from London, Rothlein created imagery that so coherently integrated the technology with the dancers, you sometimes could not tell where the real and the projected bodies began. The effect would have pleased Einstein: The images are simultaneously luminous and metaphysical.