Perfect Fit

When Londiwe Khoza comes on stage in Ohad Naharin's Momo, the four men — bare-chested, army trousers, and boots — have already done a few laps in unison. She, barefoot, balances on the balls of her feet, step by step, into a strange group: on one side the muscular men, on the other a queer group that seems to be moving together, against each other, alone, or in groups in a disparate world. Are they searching for something? What are they feeling, what do they perceive of each other? Ohad Naharin lets us, the audience, decide what we think we recognize, what we are able to recognize. Our eyes wander from one figure to the next, yet always remain fixed on Londiwe Khoza. She has what defines a top-level dancer: control over every muscle, that tension in her body acquired over years of ballet ...