Tuesday, July 29, 2014
Inquirer Daily News

Dance Review: MOMIX

MOMIX offers an exotic caravan of pieces to an enthusiastic audience at the Annenberg, says critic Merilyn Jackson.

Dance Review: MOMIX

By Merilyn Jackson FOR THE INQUIRER You could sum up the work of the genius stagecrafter and choreographer Moses Pendleton by saying he exceeds the influence of such peers as Alwin Nikolais, Elizabeth Streb, Mummenschanz, and Pilobolus, the now-41-year-old company he cofounded, then left in 1983 to form MOMIX. His inventiveness and artistry far surpass the popular Cirque du Soleil. A Dance Celebration favorite, MOMIX opened at the Annenberg Center on Thursday night to a nearly full house with its show “reMIX.” Instead of one of his evening-length works, Pendleton offered an exotic caravan of pieces — some new, some familiar — that drew oohs, aahs, and scatterings of applause throughout. I’d love to be able to see into Pendleton’s dreams just one night, but dreams alone don’t make theater like this. It needs imagination, an understanding of the laws of physics — inertia, centrifugal force, gravity, weight, velocity — and the grit to work out the precision timing that keeps his dancers safe, all of which someone like Streb employs with ease. But like Nikolais, Pendleton brings beauty, mystery, emotion, and uproarious fun to the table, too. In his and Karl Baumann’s piece TableTalk, Steven Marshall, a phenomenal gymnastic dancer who performed in many of the works, splays his arms out and, with head below the rim of the table, draws us in with a powerful rippling of his shoulder muscles. He proceeds through every possible permutation of stance until finally he twirls the table on his back and carries it off. In Tuu, with Rebecca Rasmussen, he holds and lifts her, with every press of the feet, lean of the body, fall, timed to perfection. In Dream Catcher with Cara Seymour, he commands a giant elliptically designed gyroscope, which the two pivot and swing around on in dangerous-looking variations. Two dances by the company’s women endeared with sensuality and wit: In Marigolds, Phoebe Katzin’s fabulous orange frills enfolded the women and allowed them to shimmy the dresses down their bodies till they were rumba-like sheaths. Baths of Caracalla, by the same five women, now in white by Katzin, harked all the way back to Loie Fuller, with the women rippling their white skirts like bath towels, flags, or clouds. Sputnik and Pole Dance were magnificent spectacles, using poles for balancing, vaulting, and flying, that Philadelphia choreographer Brian Sanders had a hand in contriving. By the concert’s end the ethereal, Asian-inspired ambient sound and lounge music grew tedious — my only complaint — so it was a great relief in the last piece, If You Need Some Body, to hear Bach, which I normally hate for dance. It made a perfect foil for the ebullient silliness of the company of 10 partnered by floppy dummies that ended up flying joyfully from dancer to dancer. Additional performances 2 and 8 p.m. Saturday, 2 p.m. Sunday at the Annenberg Center, 3680 Walnut St. www.pennpresents.org.

About this blog
Toby Zinman's night job since 2006 is theater critic for the Inquirer. She also is a contributing writer for Variety and American Theatre magazine. Her day job: Prize-winning prof at UArts, author of four books about four playwrights (Rabe, McNally, Miller, Albee), and doer of scholarly deeds (winner of five NEH grants, Fulbright lecturer at Tel Aviv University, visiting professor in China). Her 'weekend' job as a travel writer provides adventure: dogsledding in the Yukon, ziplining in Belize, walking coast-to-coast across England, and cowboying in the Australian Outback.


Wendy Rosenfield has written freelance features and theater reviews for The Inquirer since 2006. She was theater critic for the Philadelphia Weekly from 1995 to 2001, after which she enjoyed a five-year baby-raising sabbatical. She serves on the board of the American Theatre Critics Association, was a participant in the Bennington Writer's Workshop, a 2008 NEA/USC Fellow in Theater and Musical Theater, and twice was guest critic for the Kennedy Center American College Theater Festival's Region II National Critics Institute. She received her B.A. from Bennington College and her M.L.A. from the University of Pennsylvania. She also is a fiction writer, was proofreader to a swami, publications editor for the Women's International League for Peace and Freedom, and spends all her free time working out and driving people places. Follow her on Twitter @WendyRosenfield.


Jim Rutter has reviewed theater for The Inquirer since September, 2011. Since 2006, he covered dance, theater and opera for the Broad Street Review, and has also written for many suburban newspapers, including The Main Line Times. In 2009, the National Endowment for the Arts awarded him a Fellowship in Arts Journalism. Thames & Hudson released his updated and revised version of Ballet and Modern Dance in June, 2012. From 1998 to 2005, he taught philosophy and logic at Drexel, and then Widener University. He also coaches Olympic Weightlifting for Liberty Barbell, and has competed at the national level in that sport since 2001.


Merilyn Jackson regularly writes on dance for The Inquirer and other publications. She specializes in the arts, literature, food, travel, and Eastern European culture and politics. In 2001, she was dance critic in residence at the Festival of Contemporary Dance in Bytom, Poland; in 2005, she received an NEA Critics’ Fellowship to Duke University’s Institute for Dance Criticism. She likes to say that dance was her first love but that when she discovered writing she began to cheat on dance. Now that she writes about dance, she’s made an honest woman of herself, although she also writes poetry.

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