La La La Human Steps

La La La Human Steps
Name	La La La Human Steps
Founded	1980
Founder	Édouard Lock
Location	Montreal, Quebec, Canada
Dissolved	2015
Genre	Contemporary dance, postmodern dance

La La La Human Steps was a Montreal-based contemporary dance company founded in 1980 by choreographer Édouard Lock, noted for its high-velocity movement, virtuosity, and cross-disciplinary collaborations. The company became internationally prominent through tours and residencies at institutions such as the Lincoln Center, Sadler's Wells Theatre, Centre Pompidou, and the Edinburgh Festival Fringe, working with artists from the worlds of rock music, classical music, and visual arts. Over three decades it influenced choreographers, companies, and festivals across North America, Europe, and Asia.

History

Édouard Lock established the company in Montreal during a period of flourishing alternative performance in Canada alongside companies like Les Grands Ballets Canadiens, National Ballet of Canada, and collectives emerging from the Festival d'Avignon circuit. Early residencies and presentations connected the troupe with venues including Théâtre du Nouveau Monde, Place des Arts, and international platforms such as Paris Opera, Teatro alla Scala, Staatsoper Berlin, and Biennale di Venezia. Tours in the 1980s and 1990s brought them to festivals such as Montreal Jazz Festival, Edinburgh Festival, Avignon Festival, Varna International Ballet Competition, and institutions like New York City Center, Kennedy Center, and Tokyo Bunka Kaikan. The company navigated funding landscapes involving agencies such as the Canada Council for the Arts, Conseil des arts et des lettres du Québec, and partnerships with broadcasters like CBC Television and Arte. Financial and organizational pressures, coupled with shifts in production models seen in organizations like Ballet BC and Les Ballets Jazz de Montréal, contributed to its suspension and eventual closure in 2015.

Artistic Style and Choreography

Lock's choreographic language synthesized influences from modern pioneers such as Martha Graham, Merce Cunningham, and Pina Bausch, while engaging with athleticism reminiscent of Paul Taylor and technical bravura associated with George Balanchine. Movement vocabulary emphasized hyper-accelerated torso isolations, contracted extensions, and abrupt phrase endings, paralleling kinetic experiments by William Forsythe and Trisha Brown. Lighting and scenic designs incorporated collaborators from contemporary visual art scenes including Robert Lepage, Gordon Craig, and Anish Kapoor-style theatricality, and relied on soundscapes by musicians connected to David Bowie, Lou Reed, and Frank Zappa-adjacent avant-rock. Costume innovations referenced designers linked to Jean-Paul Gaultier, Issey Miyake, and Yohji Yamamoto, integrating fashion runway sensibilities into stagewear. The company's approach intersected with technological experiments of institutions like MIT Media Lab and companies such as Cirque du Soleil in staging immersive, high-risk choreography.

Major Works and Productions

Signature works included evening-length pieces presented worldwide that joined Lock with composers and performers associated with major cultural figures and ensembles: early repertory toured with music referencing the sensibilities of Igor Stravinsky, Sergei Prokofiev, and contemporary composers in the vein of John Adams and Philip Glass. Notable productions premiered at festivals and opera houses including works staged at Lincoln Center Festival, Opéra National de Paris, Teatro Real, Royal Opera House, Deutsche Oper Berlin, and the Sydney Opera House. The company's repertoire was showcased alongside programs featuring companies such as American Ballet Theatre, Alvin Ailey American Dance Theater, Rambert Dance Company, and Les Ballets de Monte-Carlo at presenting houses like Sadler's Wells and Carnegie Hall. Lauded pieces toured to cultural capitals including London, New York City, Paris, Buenos Aires, Tokyo, Berlin, and Moscow.

Collaborations and Influences

Collaborations ranged across artistic fields with musicians, designers, and performers associated with figures such as Gordon Downie, David Bowie, Iggy Pop, Kurt Weill-inspired theater, and production designers who had worked for Cirque du Soleil and fashion houses like Chanel. The company engaged visual artists and directors who worked in contexts linked to Robert Lepage, Nicolas Jaar, and interdisciplinary projects associated with Opera Bastille and Théâtre du Châtelet. Its style influenced choreographers and companies including Sidi Larbi Cherkaoui, Crystal Pite, Wayne McGregor, Ohad Naharin, and institutions like Batsheva Dance Company, Paris Opera Ballet, and English National Ballet. Educational and residency ties connected the troupe with conservatories such as Royal Conservatory of The Hague, Juilliard School, Conservatoire de Paris, and university programs at UCLA, McGill University, and Concordia University.

Critical Reception and Legacy

Critical response appeared in publications ranging from The New York Times and Le Monde to The Guardian, Globe and Mail, Le Devoir, and The Independent, often remarking on the company’s physical daring and polarizing aesthetics relative to traditonalists like Rudolf Nureyev and innovators like Twyla Tharp. Awards and recognitions intersected with festivals and institutions such as the Prix de Rome, Governor General's Awards, and programming honors at Festival d'Avignon and Edinburgh Festival. The company's legacy persists in contemporary choreographic practice, pedagogy, and in repertory programming at venues like Sadler's Wells and Lincoln Center, influencing the risk-tolerance and cross-genre programming of companies including Les Ballets Jazz de Montréal, Compagnie Marie Chouinard, and Ballet BC.

Company Structure and Key Members

The company was led by Édouard Lock as artistic director, working with a core ensemble of dancers and artistic staff who later joined or collaborated with companies such as Les Grands Ballets Canadiens, Compagnie Marie Chouinard, Batsheva Dance Company, and institutions like National Arts Centre. Important recurring collaborators included designers, composers, and producers connected to Robert Lepage, Michel Lemieux, David Lang, and producers involved with Dance Umbrella and PRODANZA. Administrative relationships involved funding and presentation partners such as Canada Council for the Arts, Conseil des arts et lettres du Québec, broadcasters like CBC Television, and presenters like Sadler's Wells and Lincoln Center. The company's alumni continue to shape contemporary dance through leadership, choreography, and teaching roles at organizations including Jacques Cartier University, Concordia University, Juilliard School, and regional companies across Canada and Europe.

Category:Contemporary dance companies