COMPAGNIE KAFIG

Review by Celia Ipiotis

Immersed in a sea of pointillistic black and white computer projections, Compagnie Kafig deploys an international hip hop style suspended inside a mesmerizing cosmic tapestry. Created by Artistic Director and choreographer Mourad Merzouki  in collaboration with French digital production studio Adrien M & Claire B.   Pixel returned, after 10 years, to the newly renovated Ted Shawn Theater at Jacob’s Pillow. 

Enmeshed inside a universe of computerized light and video projections, each of the 11 dancers express an individualized dynamic and identity.  Escalating head spins flip into revolutions on backs, knees drawing in then opening to Capoeira style windmilling kicks pressed through a rocketing combo of ground and aerial work. 

Tossed in the mix, several “specialty” acts pop up adding wit and new twists. Surfacing in the midst of the all-male ensemble, Nan van der Ply, a dancer/gymnast/contortionist (with a degree in astrophysics), lays on the ground, arches her back and slowly folds both legs over her head pointing her toes at the male posse. A hilarious image, her form looks like an extra terrestrial sizing up the mono male society. Later she generates a solo of beautifully sustained, and quiet moves in sync with the spectral projections. 

At one point, a couple of robots in the style of a roomba vacuum streak across the stage, headlights flaring, sweeping the space clean of human debris. A humorous entry, it’s as if they establish a “reset” for the piece. 

In true high-end circus art,  Julien Seijo balances inside a human-size hula hoop, arms and legs spread in the iconic “Vitruvian Man” image– rolling and turning languidly. (The first person I ever saw perform inside a hoop — late 1980’s — was the MacArthur “genius” Michael Moschen, a juggler who toys with time, space, shape and rhythm.) 

Another witty aside materializes when the eclectic Sabri “Mucho” Colin zips along on in-line skates, isolating body parts and jutting arms. The only thing missing: a boom box balanced on his shoulder. 

But the real star of the show is the environment. At times the pixels rain down on the stage, or a slice of the computer universe tilts forward like a garage door flattening the dancers. From the floor to the sides and ceiling, every conceivable surface in the theater inhales and exhales a galaxy of light and motion– tickling the eyes and eliciting gleeful responses from the audience.

A crowd pleaser, the mixed-talent artists throw themselves into Pixel, the kinetic and visual thriller set to a score by Armand Amar. 

EYE ON THE ARTS, NY — Celia Ipiotis