BWW Reviews: Lyon Opera Ballet Offers a Mobil Sculpture as Glimpse of the End of the World
Last weekend, The Brooklyn Academy of Music saw the return of the Lyon Opera Ballet and the American premier of Christian Rizzo's Ni Fleurs, Ni Ford-Mustang. While commissioning works by contemporary choreographers is now a staple with ballet companies (particularly in Europe), Lyon Opera Ballet has developed a bit of a vanguard reputation in championing "modern ballet." Since its inception in 1969, the Company has commissioned works by American choreographers Bill T Jones, Susan Marshall, William Forsythe, and Trisha Brown as well as avant-garde European artists Alain Buffard, Maguy Marin and Jerome Bell, just to name a few.
The Company's engagement at BAM is part of the three week DANSE: A French-American Festival of Performance and Ideas, which highlights the work of French choreographers and performers to expand the visibility of contemporary dance to a wider public. As I sat in the audience of BAM's Howard Gilman Opera House Friday night, I couldn't help but wonder if this particular audience was ready for what the choreographer had to offer.
The Ballet actually began about 10 minutes before the curtain rose: a propulsive score, created for the work by Jerome Nox, crept through the speakers of the theater as the audience took their seats. The music became louder and louder until the audience was drowned in its tension. The curtain rose on a deserted landscape to reveal red glittered heels, a la Dorothy in The Wizard of Oz, scattered around the stage and a metallic silver skeleton suspended from the ceiling. Upstage right was a massive white screen that glowed a stark white light, revealing an indistinguishable, animal-like mass among the ruby slippers. The dancers entered by one, took their places on stage, and lay lifelessly around this tempestuous landscape that Rizzo had created.