Reviews February 2015
January 2014
February 2011 Tremaine
Dance Convention and Competition Lisa! Absolutely loved The Ballet Class number! Terrific choreography. Great use of props ------the number built beautifully. Most enjoyable and unique! Congratulations! Joe Tremaine Beck Center's
"Fiddler" keeps the tradition fresh By some curious alignment of Broadway
stars, the theater gods have called for fiddlers three to visit Northeast
Ohio within the space of a year. Over the summer at the College of
Wooster, Ohio Light Opera performed “Fiddler on the Roof,” which will
come to PlayhouseSquare in June in a tour version starring Chaim Topol,
Tevye of the 1971 film. Between the other “Fiddlers,” a production has
arrived at the Beck Center in Lakewood that knows how to keep a classic
fresh. Never mind that we hardly need another
incarnation of the beloved 1964 musical. As staged with fluent charm by
Paul Gurgol, former artistic director of Kalliope Stage, the production
finds a fine balance between the humor, poignancy and tension that makes
“Fiddler” one of the summits of musical theater. or their sojourn into “Fiddler”
land, Gurgol and choreographer
Lisa Lock decided to pay respects to Jerome Robbins’ original staging
without rendering a carbon copy. The slight detours from Robbins
are few, but they mostly work. In “Matchmaker,” the three oldest
daughters are joined by the two youngest, who emerge from their bath to
help fill out the lilting waltz. It is an entrancing variation on the
theme. Gurgol adds a pinch of sweetness to
“Do You Love Me?” As Teyve and Golde realize they indeed have more
than a little affection for one another, the dairyman gives his wife a
tender nudge. Only in “To Life” does the momentary need to be novel
prove a misstep: Russian women at the time would never have been allowed
to imbibe and revel with men in a bar. Otherwise, Gurgol hits the right
emotional notes and Lock preserves
the flavor of Robbins’ savory dances, while adding energetic details of
her own. (The choreographer, in lavish beard, also appears as the fiddler,
without program credit.) Russ Borski’s flowing sets, with
flowers and trees in frequent motion, and Trad A Burns’ discerning
lighting provide poetic views of the village of Anatekva. The atmospheres
in “Sabbath Prayer” and “The Dream” are particularly effective as
staged partly behind a scrim. No “Fiddler” can hope to thrive
without a Tevye who inhabits this Everyman’s generous, expansive soul.
Beck Center is lucky to have George Roth to convey Tevye’s conflicts
with tradition in a seamless blend of wit, rage and compassion. He
receives vibrant assistance from Adina Bloom, a Golde abounding in good
cheer and never-say-die spirit. Rhoda Rosen’s amiable Yente could
use a bit more edge. But the three oldest daughters are captivating and
forceful as played by Morgan Greene (Tzeitel), Patricia O’Toole (Hodel)
and Dani Apple (Chava), and their suitor-husbands register strongly in the
performances of Tim Allen (Motel), Kyle Downing (Perchik) and Andy
Weyenberg (Fyedka). By the time the Jewish residents of
Anatevka go their various ways, the Beck Center production has reminded us
that a familiar work can be potent no matter how often we enter its world.
This “Fiddler” achieves impact with endearing integrity. Lock needs nothing but a flow of crimson netting and her seemingly endless extension to animate her solo work. Emerging from the fabric, Lock unfolds slowly, rises on point, breaks free and returns to her nest. Throughout, she commands attention.
Lisa
Lock's water ballet has its Cleveland debut
Premiere-packed
program brims with energy coolcleveland.com Review of Lisa K.
Lock’s Fear of Falling Saturday night I went to see “Fear
of Falling”, Lisa K. Lock’s stunning multimedia dance performance. The
newly renovated (and once condemned) Gordon Square Theater was the perfect
setting with its shabby chic appearance speaking of decay and revival.
Originally built for Vaudeville performances in 1912, the theater has seen
both glory days and hard times, evidenced by the peeling paint on the
once-ornate ceiling. ”Fear of Falling “,celebrates the
triumphs and failures of the human body, human spirit, and human
relationships. Lisa K. Lock, classically trained in ballet at the Grande
Ecole de Danse in Switzerland, also holds an MFA from the California
Institute of the Arts. Her choreography blends ballet with more
experimental techniques incorporating feats of balance and suspended
motion. The performance opens with "Descend," in which Lock is
balanced on uneven bars. Clothed in white satin lingerie and pointe shoes,
Lock’s body becomes a work of art as each muscle moves with precise
fluidity. Lock shares the stage with
internationally trained ballet dancers Troy McCarty and Artour Bajanov.
Incorporating blocks, uneven bars, and floor space, the three dancers
express a range of mature emotions set to the lush music of J.S. Bach and
Heitor Villa Lobos. Always graceful, yet teetering between restraint and
loss of balance, the dancers navigate the stage like lovers finding their
way through the joys and sorrows of life together. The piece "Blind
Faith" is performed entirely on a block, hardly large enough for Lock
and McCarty to stand on comfortably. Together, they entwine into various
graceful positions including moments when one or both dancers is suspended
in the air over the edge of the block.
These movements suggest lovers waking up in the morning and reaching out
for each other in the dark. There is a sense of deep tenderness, as well
as the terror that the one you reach for will not be there. The performance as includes two solo pieces which stand out from the progressive love story portrayed by Lock, McCarty, and Bajanov. "On the Move," arranged by Lock, and choreographed and performed by the dynamic Frank Polk, is an upbeat departure incorporating hip hop and break dance. Performed on a block large enough for Polk to fully recline, the piece explores themes of balance, gravity, and emotional expression that tie in beautifully with “Fear of Falling”, allowing this piece to be refreshing, rather than distracting. "Powder," which appears in the second half of the performance, is a little bit more difficult to tie in. Choreographed by Lock and performed by Micheal Medcalf, the piece uses three lamps, a bowl of white chalk, and the same block that Polk performed on. Set to the music of Tibetan Singing Bowls, Medcalf pours the chalk over his body, suggesting a religious ritual. "Fallen," which opens the
second half of the performance, was the most memorable video as well as
the most disturbing. Set to pulsing free-form music, it portrays a white
mannequin, which eerily resembles Lock, on the floor in pieces. The effect
is cold and clashes with the emotional heat of the rest of the
performance. Upon viewing, I did not enjoy this piece and could not see
how it fit into “Fear of Falling”, but after further contemplation, I
realized this video portrays the ultimate fear of the performance: what
would happened if one of the dancers did fall. In human exploration of love and life,
no matter how beautiful a body—or a relationship—is, it will
eventually fall apart. Perhaps the video is meant to be a dream of death,
a premonition of the inevitable demise of all things human. While the
contrast is interesting, I still think the video doesn’t quite mesh with
the rest of the performance. I believe its themes are more adequately
expressed by the live dancers. The bittersweetness of their movement
celebrates beauty while simultaneously expressing the urgency of imminent
decay. Overall, the effect of “Fear of Falling” is stunning and thought-provoking. It is a celebration of life that looks death in the face. It is an exploration of fear that ultimately allows the audience to plunge into their own emotions, despite the fear. I look forward to seeing what else Lisa K. Lock has to offer.
Cool Cleveland Top flight: The incredible Lisa K. Lock
transfixing the audience in the 10-minute Gravity Well Movement:
Lock's ultraslow movements hanging over parallel bars with her impossibly
long limbs turned her into an insectoid space alien. The
Plain Dealer Ingenuity: Cleveland's Festival of
Art and Technology
|
Congratulations Lisa!
Lisa K. Lock received an Individual Excellence Award from the Ohio Art Council for 2009
February 2011
Tremaine
Dance Convention and Competition
Cleveland, Ohio
Lisa! Absolutely loved The Ballet Class number! Terrific choreography. Great use of props ------the number built beautifully. Most enjoyable and unique! Congratulations!
Joe Tremaine
Los Angeles Times
May
11th 1999
Dance
Review by Victoria Looseleaf
Highways
Performance Space welcomed the exhilarating collective La Danserie.
Choreographer-dancer Lisa K. Lock dominated the Highways evening in
stamina, verstility and technique. From “Voiceless” a contact
improvisation between her and Juan Francisco Robles, to “Perpetual
Identities,” in which Philip Chang, Vanessa Jue, Tony Licon, Jennifer
McDonald-Wilson, Grant Wilson and Jennifer Usyak shed light effectively on
issues of trust, fear and isolation, the work soared.
Lock
shone, too, in McDonald-Wilson’s take on “Waiting for Godo,” her
loose-limbed playfulness a perfect foil for Jue’s equally enchanting
high jinks.
Choreographer
Patrick Frantz made use of Lock’s heron-like presence in his “Chosen
Ones,” an Ellis Island-like scenario abounding with fugal moves and
furious passion.
Dancer
October
1998
Patrick
Frantz and La Danserie Debut: A
Triumph
Lisa
K. Lock's contribution to the company is valuable as dancer, as well as
choreographer. Her work is the other world premiere debuted. After
beautifully executing the solo, Luange, which Frantz created for her, she
established herself as an incredibly imaginative choreographer with Skaug.
The six dancers were moving as they showed how humankind is always
coveting whatever one does not have. There were no program notes so the
audience was left to their own interpretation... a lovely piece.
Los
Angeles Times
March
1997
Blending
Classical, Popular Dance Forms
by
Jennifer Fisher
Just
as "The Grind" was dominated by the riveting Yamaguchi, eyes
were drawn solely to Lisa K. lock in the Fullers' "All About
Grace," with live percussion and taped version of "Amazing
Grace." Tall, bald and perfectly articulate, Lock moved with cat-like
agility while five dancers advanced and retreated on a ramp- always with a
studied audience awareness the choreographers build into their work.
Los Angeles Times
July
2nd 1996
Fifth
"Voices in Motion" A Showcase of Trepidation
by
Lewis Segal
In
Contrast, the quiet heroism of maintaining one's sense of Balance in a
hostile environment informs Lisa K. Lock's fine sculptural solo
"Window of Silence"
Los Angeles Times
November
18th 1996
Elegance
and Strength Fill "Moments" of Lisa K. Lock
by
Victoria Looseleaf
The
one-person show, though sometimes steeped in bloated confessionals, is
popular theater fare. With dance, however, a solo evening can prove
problematic because of stamina. Dancer-Choreographer Lisa K. Lock, whose
solo program "Collected Moments" was on view at LACE Friday
night, demonstrated the opposite: Edgy and powerful, Lock's middle initial
might very well stand for kinetic.
Lock,
classically trained, used her exceedingly long limbs to great effect,
displaying rippling muscles with sculptural style to spare in three works
new to her repertory and three familiar (and previously reviewed) pieces.
In
"Human-Huwoman," Klaus Nomi's quasi-baroque score meshed with
Lock's choreography, with the dancer patting herself on the back before
veering into parody-dying swan and balletic spin territory. Lock's close
cropped hair and anguished eyes completed the picture, while her work-boot
pointe moves brought to mind tap guru Savion Glover.
Winifred
R. Harris' piece "Behind my Back in Front of My Face,"
choreographed to a slice of Henryck Gorecki's redemptive Third symphony,
is by nature, elegiac. Lock displayed limitless elegance, whether rising
on bare toes, writhing on the floor, executing a frenzy of leaps or
holding an an invisible mirror to reflect the world's sorrow.
Patrick
Frantz's "Luange(Praise)," had Lock in ballet shoes draped in a
red banner, dipping, turning and holding impossibly beautiful poses to
Olivier Messiaen's score, with a dramatic ending in which Lock was pulled
from stage while lying on the sash.
To
see Lock smile at the evening's end was nearly as refreshing as witnessing
her earlier muscular finesse.
Los Angeles Times
July
25, 1995
First-Rate
Kaleidoscope in a First Visit
By
Lewis Segal
In
"Bryonphyllum" to Music by Larry A. Attaway, soloist Lisa k.
Lock crouched on the tips of her pointe shoes, slowly clawing the air and
sometimes hanging off free-standing Pole units. Resembling a crustacean on
the prowl, she demonstrated meticulous control of body-sculpture and a
potent imagination.
Los Angeles Times
June
1995
A
"Canopy" Stands Out With Acrobatic Flourish in "Moves"
by
Lewis Segal
On
the opening "Prime Moves" program at LACE on Friday locally
based choreographer Lisa K. lock danced a solo titled "Canopy"
to music by Leigh Ann Gillespie- a solo full of twitchy, insectile
limb-spasms and low, crablike scamperings across the floor. By the closing
"Prime Moves" performance on Sunday, "Canopy" had
become a duet for Lock and Clyde Howell: the same only different.
If
the major movement-events of the piece seemed unchanged, Howell's presence
created new opportunities for gymnastic interplay: a passage in which Lock
rode on his back, for example, let her slide to the floor and then
collapsed slowly over her. Strongly performed in both versions,
"Canopy" offered a number of unusual positions for dancing and
unorthodox methods of locomotion- plus a potent sense of atmosphere.
Lock's
exploration of long-held, off center balances was beautifully controlled.