Reviews of La La La Human Steps at Sadler's Wells.
Purcell's Dido & Aeneas and Gluck's Orpheus & Eurydice must be the most choreographed operas in the repertory. Their buoyant, punchy baroque rhythms, and the simple arc of their plots, lend themselves naturally to dance. Canadian choreographer Édouard Lock joins the illustrious line of Balanchine, Bausch and Morris in tackling these two classics.
The Arts Desk:
So you chew over the story relevance, jettison it, and return your attention to the unflagging dancers, but the spell inevitably weakens over the 90 minutes, as it seems more and more inevitable that this top-speed quarrel between everybody will never end in resolution. Its climactic duet between a still extremely upset woman twisting and turning in one of the black-clad chaps’ grip is a turbo-charged echo (I take it) of Eurydice trying to catch Orpheus’s gaze, but by then this roller-coaster ride had tired me out.
The Evening Standard:
There's also a mildly transgressive appeal watching ballet dancers in pointe shoes performing in an un-balletic way - that is, stroppy and strongly, although we've long known that the frail, fainting ballerina is a theatrical construction and indicative of neither the performers nor the art form. However, having seen Lock's signature athleticism once or twice his appeal wanes as there are diminishing returns on his relentless pace and mono-emotional angst.