The Observer, March 30, 2007
Volume XXXIX, Issue 22
Momix dance troupe brings expressive Sea to Cleveland
One of the most expressive art forms is dance. Dancers can convey a great multitude of emotions through their extensions and adaptation of choreography, holding the audience enraptured as they contort and twist their bodies on stage. Momix's latest offering, Lunar Sea, proved no exception when the dance troupe performed in Cleveland March 9-10 at the State Theatre during one of their many ventures to bring dance to audiences across the country.
Moses Pendleton, artistic director and founder of Momix, has choreographed an astounding and revolutionary vision of the moon, brought to life by an amazing team of dancers. Experimenting with everything from exercise ball routines to bringing spiders to life, Pendleton has created an entirely unique and impressive program.
Lunar Sea is divided into two completely separate parts, "Sea of Tranquility" and "Bay of Seething." The two "acts" are wildly different, yet are still tied together. Both parts feature dancers who appear to float and fly through the air, all thanks to a simple trick of costumes. The dancers are outfitted in costumes that are half-black and half-white and the entire stage is black, lit only with black lights, while beautiful background images are projected on a transparent scrim in front of the dancers. Thus, only the white parts of the dancers can be seen, making them appear like moon creatures, and also allowing for some spectacular theatrical effects.
"Tranquility" is much softer than "Seething," featuring the dancers' slow progression from simple movements upon the ground to stunning aerial ballet work. The dancers spring like rabbits from wing to wing, appearing as though they are just steps away from actually taking flight. At one point, the illusion is reversed, as a series of white-costumed dancers serve as a background for black-clad dancers, who move and contorte in front. The closing pyramid of "Tranquility" is especially effective, as the entire company forms a massive, strikingly tall pyramid, and the lights slowly come up, showing the dancers as actual people.
"Seething" is much more aggressive and hostile than the first act. The white, glowing dancers make their return, but other lighting tricks are used as well. Two dancers, outfitted in white dresses, as opposed to the typical form-fitting costume, float across the stage in some of the most impressive choreography of the entire work. They appear never to touch the ground, thanks to the supporting dancers costumed in black. Two dancers also perform a duet, dressed in nearly nothing, which functions as a study in positioning, lit only by bright, abrasive red spotlights. Other highlights include a visually astounding fight between a fluorescent green spider and an orange one of the same variety, and a phenomenal balancing routine with four female dancers and exercise balls.
Lunar Sea comes across as an innovative and extremely expressive vision of a playful moon. Both intriguing and enrapturing, Sea features dancers at the very extremes of their ability, and to great success. Pendleton proves the fact that dance is indeed one of the most expressive art forms, and plays it to its extreme. While Sea's run is over in Cleveland, Momix will be visiting cities nationwide throughout the year; visit www.mosespendelton.com for information on the troupe's upcoming shows.
