Dancehouse Tickets

Superb choreographer, dancing brilliance! Utterly memorable performance. Industrial-technoish music might not be everybodies cuppa but, in the end, was ok.

Sunday evening's performance of New Work by Edward Lock and Lalala Human Steps was a stunning piece of art. Loss and desire, the lens of memory and the ephemera of the moment portrayed by a company of virtuotistic dancers and an ensemble of musicians on stage. A complete and hermetic composition this was a piece that was vitally and essentially in the moment. Framed by the formality of film projections throughout the piece these screens also referenced those Lock presented in Salt and some of ideas he has been exploring since then. They heighten the filmic connections of the piece yet also undermine them as the images are almost too bright too clear too real and too artificial, they are portraits of the performers now and aged in the future. They are the digital to the flickering organic film that is the twilight the dancers perform in, their forms silhouetted their limbs amplified the lighting showing off the kinetic frenetic gesturalisms. The lighting stark and filmic it shifted continually moving time along like jump cuts in a film and giving different angles and perspectives on the play. The dancers move lightening fast with the precision of diamonds or lasers. Lock has moved away from the gravity defying horizontality of much of his earlier work it now vertical upright and ascending his dancers piroetting en pointe faster and faster as if they could leave the ground and their corporality. The music is performed by strings piano and saxophone on stage heightening the immediacy and ephemerality of the performance. The music is an adaptation of Purcell’s Dido and Aeneas and Gluck’s Orpheus and Eurydice. Although modernized and unfamiliar in it still transmits the ideas and emotions inherent in the performance. This is a viscerally emotional piece of art with a hard physical punch, it is dazzling and mesmerizing to watch and a joy to hear.

As always LaLaLa's speed and precision of movement did not fail to disappoint. I love the edginess, the danger, the abstract. The films left me a bit cold - gorgeous to look at but got to look at them for too long. I wanted the blonde dancer back on stage at all times: she had all my attention and everyone else's that was with me. The presence of nothing but ballerinas was puzzling though - as perfect and precise as they may have been, they lacked that certain something. No Louise here. Yes I appreciate the work, the training, the blind dedication and passion - but it did not transfer to the audience. Not to me or my peers anyway. I appreciate original and ground-breaking music but 10 minutes into it I felt like I was being drilled at the dentist's.

Sexy, dark, athletic, graceful: their bodies can move from a whisper to a scream and back again in the blink of a eye. Shockingly fast, achingly delicate. Innovative and classical. Just superb. I am not a fan of dance per se, but I am a fan of LaLaLa. I cannot believe these performers are not more widely known. These are the Michael Jordans, Lindsay Vonns and Tom Bradys of their field. They will only be in your city once every few years - Don't miss it.

A unique dance experience. Like it shut's down your left brain. A lot of people just looked at each other after it was over. "What was that? Music blended seamlessly. Overall well worth the price.

Just to see Louise perform the barrel jump live, once, was worth the ticket price. Not too crazy about the choreography in the first part, but the 15 minutes of Edouard Lock at the end were also worth the ticket price.

I was on the edge of my seat for the entire performance. The way Louise & partner moved in their space, in relation to one another... I was brought to tears in the "Few Minutes of Lock". Left me wanting much more!!!