(BECKET, Mass.) – Iggy Pop is perhaps best known as one of the most intensely physical rock ‘n’ roll singers, often flaunting his buff physique by performing shirtless, and in his younger, wilder days, even known to roll around in broken glass onstage. Therefore it’s only appropriate that iconic Canadian contemporary dancer Louise Lecavalier performs a program of physical, compelling works including A Few Minutes of Lock, in its U.S. premiere, powering through the signature athletic choreography of Édouard Lock to a soundscape of Iggy Pop music, during a limited engagement at Jacob’s Pillow Dance Festival July13-16.
This rare opportunity for audiences to see Lecavalier perform in the United States also includes the U.S. premiere of the duet Children, choreographed by DV8 Physical Theatre’s Nigel Charnock, in which Lecavalier performs with Patrick Lamothe, opening a window into a relationship at its breaking point.
Considered Édouard Lock’s muse, Louise Lecavalier joined his company La La La Human Steps in 1981 for its production of Oranges and went on to perform in each of the company’s productions until Exaucé/Salt in 1998. Renowned for her fast-paced, emotional work with plenty of musical variety, she has won several prestigious awards including a Bessie for her performance in Businessman in the Process of Becoming an Angel (1983); the Jean A. Chalmers National Award (1999); and was recently named Choreographic Personality of the Year for 2010-2011 at the Syndicat français de la critique (French Critics’ Union) on June 20, 2011. According to Le Monde, she is “often imitated, never equaled. She remains the untamable platinum-blonde rebel, refusing all chains. For her dance is an act of sharing.”
“Louise is astonishing. She is fearless on stage, making each performance compelling and suspenseful for the audience,” comments Ella Baff, executive and artistic director of Jacob’s Pillow. “It is not only the daredevil nature of the movement itself, but she is powerful emotionally – passionate, commanding, and gives everything of herself in performance. For me, this program says so much about why dance matters. You don’t need to know anything about dance or choreography to connect with this experience – and everyone should see Louise Lecavalier dance at least once.”
In Children, a 50-minute duet choreographed by the British “bad boy of physical theatre,” Nigel Charnock, Lecavalier “seems ageless. She unleashes a fireworks display of breathtaking leaps and movements at a speed that is hardly comprehensible.” (Regina Goldlücke, Rheinische Post). The work begins with flashing lights and Lecavalier running on hands and feet. The couple swing, lift, catch, and throw each other around with rhythmic abandon. Charming yet serious, Children displays “a child’s sensitivity – interpreted by an exceptional artist” (Neue Rhein Zeitung).
In the U.S. premiere of Ten Minutes of Lock, Lecavalier revisits three duets from her final years with La La La Human Steps. The work includes excerpts from Édouard Lock’s 2 and Exauce/Salt. In the first duet, the focus is almost entirely on Lecavalier, while the second section features three dancers (Lecavalier, Lamothe, and Keir Knight). Quick, slicing movement is juxtaposed with graceful lifts as Lecavalier jumps and spins into her partners’ arms. Says Victoria Looseleaf of Dance Magazine, “Nobody moves like Louse Lecavalier.”