Sunday, September 30, 2007

Dance Review: MOMIX

By Mark-Brian Sonna of MBS Productions

Moses Pendelton is one of the most influential theatre artists in modern history. He was one of the founding members of Pilobulus and then created MOMIX in 1981. When Pilobulus was created it turned the dance world upside down. The original troupe of 6 barely had any dance training or knowledge of the medium, yet through a process of experimentation, and sheer muscle power, they created dance pieces of unmistakable beauty, humor and grace. The signature use of stacked bodies to create what appeared like a foreign organism or some psychedelic microbe had never been seen before.

As Pilobulus evolved and began gaining an international reputation, Moses Pendelton took on more choreographic duties. He began to incorporate lighting tricks, elaborate costumes, and a few props to the dance pieces. When he parted ways with Pilobulus, where the choreography was more of a group effort, he began to actively experiment with objects and incorporated them into the dance. He also began to compose music to satisfy the needs of his choreography.

MOMIX, though thought of as a dance company, really defies classification. By blending theatrics, physical objects, costuming, sound, with movement he broke all barriers of what could or could not be done on a stage. This tearing down of all conventions has resonated in all the performing arts. One only has to look at Cirque du Soleil or the musical The Lion King to see the influence of Moses Pendelton. Currently, the very cool Hanes commercials feature his troupe.

The program MOMIX has been brought to Dallas to celebrate the kickoff of the 25th season of TITAS as a “best of” show. This show is truly a treat for those lucky enough to see it. None of the pieces disappoint, and deservedly receive the intense gasps from the audience as they marvel at the theatricality of the production. Though there were a few fleeting moments of wobbles, after all this is a live show with dancers balancing anything from poles, to juggling ribbons, or oversized balloons, for a two hour live performance of such intense athleticism, it was nearly flawless.

If pressed to say which pieces were the most exceptional, I would be hard pressed to pick one. Each piece had its own jaw-dropping effect that would startle the audience. But in order to summarize, and attempt to explain what MOMIX is all about I will pick three:

“Orbit” is blessedly simple. A woman stands on center stage with what amounts to an enormous hula hoop measuring about 6 feet in diameter. She slowly spins it around her as if it were a wheel circling her. The effect created is similar to watching a coin roll on its side and begin to spin in a circle on itself before it collapses on a table. Like the coin she begins spinning, or “rolling”, the circle moves faster and faster, but instead of falling down flat onto the floor she actually lifts it up so that it is falling upward. This visual illusion is simple yet absorbing. Eventually the circle that is hovering over her head descends on her and becomes an enormous hula hoop spinning around her waist. The circle is now moving at such a fast speed that it becomes a blur, propelling her across the stage in a series of acrobatics of high intensity. Nicole Loizides who dances this piece spins faster then any other dancer I have ever seen. As her body melds into the movement that seems to be dictated by the hoop she too becomes a blur. Then she will suddenly stop, thus reminding the audience that it is she that is controlling the hoop not the other way around. This sequence goes on for a good seven minutes or so, yet it remains riveting the entire time.

Danielle Arico and Steven Marshall along with an enormous curved metal sculpture created by Alan Boeding, perform “Dreamcatcher”. I mention the sculpture because it is so integral to the piece it’s like a third dancer. This sensually curved sculpture seems to separate the two lovers who reach for each other as the summersault on the perpetually rocking piece. As the desire for each other intensifies, so does the rocking of the sculpture which they are in essence “attached” to. Eventually they take turns holding it still for a few brief seconds, so that each can move on a certain element of the sculpture. Like a love affair, or a marriage, they help each other out with this sculpture that metaphorically has taken on the meaning of life. The sculpture eventually overpowers them leaving them laying on the floor separated, as if dead; yet the sculpture continues to oscillate back and forth over their bodies, reminding the audience of the union that they had. The performance is sublime.

“Sputnick” incorporates most of the cast: Sara Kappraff, Suzanne Lampl, Steven Exra Marshall, Timothy Melady, and Brian Berman, along with the other dancers mentioned. This group piece for a fleeting moment seems like a revisit of the “Pole Dance” which was executed earlier in the evening with great brilliance by Todd Burnsed, Mr. Marshall, and Mr. Simerson. The men gather three poles and insert it into what amounts to a large bowl in which a woman sits. On the floor radiating from the center bowl are three other women. The bowl begins to spin as the men push the poles in a circle. The women assist in the action. Some of the dancers climb on the poles thus tipping the bowl into different movement patterns. The bowl at one point even levitates as the men lift it by the poles. One can anticipate that the dancers will eventually all fly around in a circle as if suspended in the air by mounting the spinning poles. Moses Pendleton brilliantly hints at this but doesn’t allow it to happen until the very end. The dancer’s are nearly nude, and seeing their beautiful bodies “flying” in the air is so sensuous, and so simple, that it is breathtaking.

I was 15 when I first saw Pilobulus on PBS, when Moses Pendelton was still part of the group. Two years later, I saw them live and had a chance to take a master class with them in 1982. Since then, I try not miss a single performance of MOMIX. As a theatre artist, I cannot emphasize the tremendous impact it had on me. TITAS was gracious enough to provide me a second ticket so I could take a companion with me. I made a point of taking a very young talented actor, Matt Fowler, who is rather new to the business of performing arts so he could experience this group. He too, like the audience was astounded, and was left full of wonder and amazement. He echoed a comment I had made when I first experienced the genius of Moses Pendleton and MOMIX: “Anything can be done on a stage, there are no barriers.”

MOMIX performs through Sunday, September 30, 2007. Tickets and information can be found at www.TITAS.org or by calling 214-528-5576.

Pegasus News content partner: Mark-Brian Sonna Productions

• Arts > Fine Arts > Dance > Modern Dance
• Arts > Fine Arts > Theater

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