Magazine article Dance Magazine

La la la Human Steps

Magazine article Dance Magazine

La la la Human Steps

Article excerpt

LA LA LA HUMAN STEPS UCLA's ROYCE HALL LOS ANGELES, CALIFORNIA NOVEMBER 12-15, 2003

Like silent films oozing beauty in stark black and white imagery, so, too, does Amelia, Edouard Lock's latest masterpiece. Created for his twenty-four-year old Montreal-based company, La La La Human Steps, the ninety-minute work made its American debut at Royce Hall as part of the UCLA Live series, landing with a dazzling furioso grace.

Part Edward Muybridge, part The Matrix Revolutions, and all Lock, the abstract dance was inspired by a pair of transvestites the choreographer knew as a youth. If, as it's been said, that men are the new women, this company's gender-bending style screams twenty-first century: Lock, whose foray into full-throttle assaultive pointe work began with his Salt (1998), goes a step further with an incredible Billy Smith, clad in all Armani suit and pink satin toe shoes. His duet with the astounding Zofia Tujaka (also suited up) is a study in freeform energy.

And, as befits a technological society, isolation rules. On Stephane Roy's set of constantly shifting black and white panels (think fine lace), the eight dancers make use of a frenzied vocabulary, whether in quicksilver entrechats, whiplash pirouetting, or angst-ridden arm gestures. Add to this John Munro's stark lighting charges, occasionally strobe-like and otherworldly, and the tableau is a fugue of swirling, dislocated patterns. Also compounding the effect--and a perfect fit--is David Lang's mesmerizing original score. …

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