New York


Joyce Theater

Since the ’60s, anti-illusionism in its many forms has ruled contemporary dance, theatrical illusionism often being equated with cultural as well as philosophical deception. Of course it’s entirely logical that out of the current welter of kinesthetic truth-tellers would arise yet another restatement of illusion in movement. Moses Pendleton, a founder of the determinedly sleight-of-foot Pilobolus troupe, takes magic over the top in the choreography for his own company, Momix (company members are also credited as creators of individual pieces). Each of the 14 dances on Momix’s recent program (13 brief vignettes and one long work) hinged on a visual/prop trick. In one sense, the foolery worked as expected: when the conceit was a resonant one, the dance succeeded. When the given trick was negligible, however, the viewer was left with nothing to fall back on, and even clever, one-liner pieces

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