The audience must be equally willing to give themselves up to the illusion. The illusions are also representative of the natural transformations that they are supposed to be portraying. This was at times welcome and tantalizing — but in the same vein as New Age imagery that features waterfalls and forests peppered with self-help quotes, Botanica has many moments of over-the-top cheesiness.
Glowing in midair, they connect, disconnect and form larger composite creatures that grow in anatomy-defying and gravity-confounding ways. An outstanding solo occurs shortly thereafter with one woman dancing on a mirrored platform. I spent the entire time during the falling leaves section trying to figure out how he pieced everything together.
Next MOMIX in Botanica seems specifically geared toward people who think dance is basically a bunch of extremely fit people rolling around on stage in a display of pretentiousness that is beyond comprehension or caring.
It is certainly more comfortable to watch familiar shapes—for example, dancers representing blossoms and insects. Nature has existed before humans, before even the dinosaurs; yet, we have taken it for granted.
Eventually pairs of dancers who look like dancers rather than, say, flowers or bees take the stage and engage in some acrobatic partnering with dabs of bona fide dance thrown in.
The illusion that mph gusts are ripping across the stage is startlingly vivid. But the mechanics of how it operates — and how many performers are inside it — are mysterious. In another far more abstract section, a line of dancers in silhouette lunge across the stage.
I know I was inspired, maybe you will be too. As she dances, the curtain morphs into a silvery spinning spider web see top photo. Botanica takes a brief turn for the grotesque with some shocking props.
In its last half, the proceedings have a start-and-stop feel to them as well. Yet such things are totally minor, and my prime complaint about Botanica would be that it sometimes focuses too much on the macro — the underlying concepts and images individuals would puzzle together to create — than on the micro.
Botanica breathes like a nature painting come to life, rooted in hypercolored projected imagery and manipulation of the human body through the use of unusual costumes and props. The routine, which is towards the end of the show, features fierce and powerful warrior women being carried by men, and the entire piece is an exercise in controlled chaos, with animalistic undertones.
In another segment the stage is pitch black except for portions of the dancers bodies. The opening sequence, for example, features dancers emerging and receding from beneath opaque fabric like cresting waves, tickling patrons with mystery and intrigue with their every ebb and flow.
Although at times, it goes overboard, particularly in a number where the men are dancing bees—a wonderful idea that bees actually dance to communicate—but the dancers so over exaggerate their silent screams and gnashing teeth that it feels more like satire.
The illusions are also representative of the natural transformations that they are supposed to be portraying. And Botanica is lush. I was reminded then that the dancers can indeed dance, but that most of Botanica does not allow their skills to flower completely.
Our review from April is below. At first, rippling white fabric covers the ground like rushing water. The conceptual framework underpinning Botanica is impressive, but I was left feeling as though the show itself is still at the starting end of its potential.
The flags create a visual and auditory effect: Other effects are less showy but as captivating. However, nature is eating us alive, like the Pinosaurus of winter, and is turning its back on us.
Its use of video projections was constant, but only occasionally did they contribute to the overall effect; in fact, their low resolution and lack of movement seemed to place limits on an otherwise very dynamic medium. Only their forearms and lower legs are visible, glowing neon green.
Each section, or vignette, is also set apart by the costuming Phoebe Katzinlighting Joshua Starbuck and Pendleton and video projections edited by Woodrow F.
The execution is good enough, but the movement itself can feel generic. As the winds howled and the thunder cracked and the lightening blinded, the dancers undulated to the tempo of the storm.The dancing in Botanica isnâ t the most technically challenging; I dare to argue that any trim and willing individual could probably pull off 90.
MOMIX’s “Botanica,” at Meany Hall through Saturday, is a minute cycle through the seasons, a fantasia of flora and fauna collaged together with. May 16, · As indeterminate shapes began to push up through the billowing mounds of fabric covering the stage at the start of Momix’s new work, “Botanica,” on Wednesday night, the child sitting next to.
A sense of wonder pervades "Botanica," the visually stunning two-hour show by the Momix dance company that opened the Pittsburgh Dance Council season on Friday night at the Byham Theater, Downtown.
'Botanica' revolves around the imagery and magic of the four seasons, showcasing the endlessly renewable energy of MOMIX performers. OPUS CACTUS 'Opus Cactus' is a visual journey into the mysteries and hidden secrets of the Southwestern desert, bringing the landscape and all of its creatures to.
Upon first seeing the trailer for Botanica, I thought: here it is, a performance that might actually make use of the exciting psychedelic potentials that m.Download