MOMIX acrobatics, effects are amazing

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The MOMIX dance-theater program presented this weekend at the Moore included a giant hula hoop, trampolines, a swinging elastic trapeze, huge x-shaped wands and a magic-lantern show that turned the dancers' shadows into fantastic puppets. The well-muscled performers appeared to be contortionists and gymnasts as much as dancers.

"MOMIX in Orbit" April 6 and 7 at the Moore Theatre, Seattle.

Choreographer and artistic director Moses Pendleton focuses on circus-like theatrical effects which involve impossible-looking physical feats. This is not dance for those who are keen on complex footwork, intricate patterns through space or an exhilarating sense of freedom. The pleasures here are in the labored structures of person, prop and partner and in breathtaking balancing acts.

The statuesque Nicole Loizides opened the evening with "Orbit," spinning a shimmering oversized hoop. As she moved around the stage, the hoop took on a kind of independence, as if self-propelled.

In the engagingly comic "Jonas and Latude," Craig Berman and Brian Simerson, wearing striped prison clothes, turned their bunk bed into a jungle gym. Accompanied by Vivaldi violin concertos and loud slapstick sound effects, they cantilevered backwards in amazingly controlled falls and embraces, tossing and turning with abandon on their trampoline mattresses.

Berman, a nationally ranked rock climber who became interested in dance as a way to improve his climbing, seemed to swim through the air in "Underwater Study #5," performing a standing breast stroke, complete with scissors kicks, that brought cheers from the audience.

"Tuu," danced by the graceful Kori Darling and the powerfully built Laos-born Pi Keohavong, used what might be described as "extreme yoga" to achieve some truly astounding lifts. Some looked like pure levitation.

Keohavong and Loizides performed a wonderfully silly dance on skis called "Millennium Skiva." Leaning forward and rocking to acute angles, they even managed to maneuver into an intimate embrace.

"Sputnik" was perhaps the strangest dance of the evening. Its movement and mood suggested the orgy scenes from old epic movies, with slave girls with flowing locks and men bared to briefs. Its central device was a revolving capsule with protruding arms on which dancers could hang and fly and be lowered for brief couplings.

In the finale, "E.C.", the entire cast created a delightful shadow play, shape-changing from giants to tiny squeaky-voiced people, creating an E.T.-like character whose head separated from his body. It was like watching a marvelous animated short. You had to keep reminding yourself that all the effects were being created by real bodies on stage.