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Dance Review

Amélia
Choreography: Edouard Lock

 

By Patricia Boccadoro

PARIS, 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.

But 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.

Maybe 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 evening?

There 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 similarities ended.

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?


Just 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.


At 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.



Patricia 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 for Culturekiosque.com.

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