By Patricia Boccadoro
18 December 2002 - Edouard
Lock with his own company, La la la Human Steps, at the Théatre
de la Ville; that was more understandable, and, in the aftermath of
his success at the Paris Opera, a performance of Amélia
there attracted a new public alongside his faithful followers.
unfortunately more strenuously sportif than lyrically
athletic, and verging on the hysterical for the better part of two
hours, no interval, many of the audience left well before time, more
exhausted than the dancers from watching the endless gyrating of
bodies to the crashing cacophony that passed as music.
this is the dance of the future. Maybe it is just my eyes and ears
that cannot tolerate the constant disharmony, the total lack of style,
grace or meaning, the eruption of Etna repeated throughout the entire
was obviously much in common with AndréAuria,
for besides the score of David Lang, this time accompanied by a singer
on stage, the decor, again white, metallic, moveable bars and
backdrop, was also by Stéphane Roy , while the lighting, even
more impressive, was signed John Munro. Circles of light cut patterns
on the blackness of the stage; dancers appeared now here, now there.
The attractive costumes, again in black were also by Liz Vandal, but
there, despite the excellent technical level of the company, the
ballet was unwieldy; it got out of hand. Over-long, lacking a solid
structure, and far too repetitive, the work had little to say. What
was the point of all this agitation?
once, we saw the hand of the master, when first two and then four of
the male dancers, all exceptional , took over the stage in an
innovative and mesmerising pas de quatre. Doubtless there were other
moments of inspiration, but they were lost in the whirlwind of motion.
the Paris Opera, Lock 's
choreography was at one with the interpreters. At the Théatre
de la Ville, we could only admire the resilience of the Canadians, and
applaud them for getting to the end.
Boccadoro writes on dance in Europe. She contributes to The Guardian,
The Observer and Dancing Times and was dance consultant to the BBC
Omnibus documentary on Rudolf Nureyev. Ms. Boccadoro is the dance editor