Jacob’s Pillow, Becket, MA
through July 28, 2024
by Josephine Sarnelli
MOMIX identifies itself as “a company of dancer-illusionists.” The genre of entertainment it offers might best be described as a dance derivative, where the underlying value is based in the dance art form but is actually much more complex. The sixteen performance pieces demonstrate the troupe’s proficiency in theatrics, acrobatics, athleticism, inventiveness and humor.
Founder and choreographer Mose Pendleton formed MOMIX in 1981 as an offshoot of Pilobolus, which he had previously co-founded and performed with. A master in the use of dance props, he incorporates items as diverse as pool noodles, a table, strings of light and rolls of banner paper, as well as complicated constructions. Each choreographic work is a creative and exhaustive exploration of the potential for one such prop.
Both the costuming and lighting were an integral part of the visual effects. Using the stage as a canvas, Pendelton often relied on negative space to create his illusions. As an accomplished photographer, he crafted scenes for the audience to immerse themselves into to enjoy a burst of childlike imagination.
Photo by Jamie Krause |
Seah Hogan performed two noteworthy solos, “Queen of Diamonds” and “Aqua Flora.” In both she demonstrated her incredible ability to spin, first while suspended from the ceiling with bungee cords and in the second act wearing a prop that appeared to be strings of pearls. She received recognition from the audience during the program and again during the standing ovation given to the entire ensemble.
A unique visual effect was offered during “Echoes of Narcissus” in which the soloist laid on a full-length mirror. At first it created a sensual illusion of two dancers, but the image turned into kaleidoscopic motions of arms and legs. The simplicity of the prop highlighted Pendelton’s ability to look at the world through different eyes.
In “Marigolds” the ruffled costume metamorphosized from flower petals surrounding the dancers’ faces to full length gowns. As with the other performance pieces, dancing was merely a vehicle for developing an illusion. While lovely, the dancing was secondary to the choreographer and audience.
The magic of MOMIX was the continual flow of routines, each offering a distinguishing feature. The dancers were all very talented and deserving of the standing ovation. But Pendelton as choreographer-illusionist is the true genius behind this incredible ensemble.