The Lyon Den

During a rapid-fire, animated interview, Yorgos Loukos frequently drops the first names of choreographers. “Billy,” “Trisha,” “Ralph,” “Bill” and others are mentioned frequently, because their works are the essence of his company’s repertory. Lyon Opera Ballet (whatever images its name might conjure) is not about tutus and tiaras. Au contraire, Loukos consistently brings in works by leading innovative American choreographers and proudly cites the number of works by Trisha Brown and Ralph Lemon his dancers perform. Lemon and Bill T. Jones each did a stint as LOB’s resident choreographer, and his dancers also have performed works by such local mainstays as Susan Marshall and Tere O’Connor.

One choreographer who was high on Looks’ wish list, but not represented in the Lyon repertory until recently, is Merce Cunningham. After several years of discussion—Cunningham himself had seen the company perform on several of its frequent New York touring engagements—LOB acquired Beach Birds, Cunningham’s limpid 1991 masterwork. Lyon Opera Ballet performs it at The Joyce this week, along with intriguing works by two choreographers well represented in its repertory: William Forsythe and Maguy Marin.

These performances offer a rare opportunity to New York audiences to see Cunnningham’s work performed by dancers other than his own. (New York City Ballet’s production of his Summerspace more than 10 years ago was the last such occasion.) With the impending closure of the Cunningham troupe following the two-year Legacy Tour that just got underway, this is a time of much questioning about the future of this seminal choreographer’s repertory. So the Lyon production of Beach Birds should be timely and fascinating and a welcome chance to re-visit a work that his company has not performed recently.

Speaking from his hotel room soon after arriving in New York last week, Loukos, LOB’s artistic director since 1991, sounded justifiably proud of having added the piece to his repertory. It was staged by Banu Ogan, a memorably distinctive Cunningham company member during the 1990s. (She is currently setting Summerspace on Juilliard students for their performances later this month.) Once his longstanding interest in obtaining a Cunningham work bore fruit, “I was so happy. And I hope I’m going to have another one. We have to keep some of his pieces and dance them.”

Beach Birds certainly posed specific challenges to his dancers, but he emphasizes that they are notably versatile due to the repertory’s breadth and variety. “Our dancers are classical dancers who want to do different things. They’re used to different types of techniques and styles, approaching different pieces. They go easily from one style or technique to another.” Although all are classically trained, the only time they don pointe shoes is for several of the Forsythe works in the repertory. The familiar ballet chestnuts do not have a home on the Lyon stage.

Then 32-member company has an ideal situation: the government support and amenities (like the availability of an orchestra) that come from being based in an opera house, with no constraints placed on its selection of dances to perform. “We are independent. There’s no pressure on us—absolutely not. Lyon is a very important city for dance: there is the Lyon Biennale, and the Maison de la Danse is like the Joyce, with companies performing every week.”

He points out that his company’s extensive touring “is publicity for Lyon Opera and for the city of Lyon.” Soon after the current U.S. tour, the company will perform in major Russian cities, followed by its annual Paris season, this time an all-American program of Cunningham, Trisha Brown and Ralph Lemon. Beijing and Shanghai are on its fall schedule, with Italy and Spain soon after that. 

With that kind of schedule—and the constant addition of new works (some by young, innovative French choreographers) to the repertory—it’s no wonder that Loukos speaks at such a brisk pace. He clearly has no time to waste. He does turn reflective when describing the other two works on the Joyce program, both of which happen to feature all-female casts.

Forsythe’s Duo is a 1996 work set to an understated Tom Willems score, in which the dancers’ pristine line and calm control are paramount. “Stylistically it’s a masterpiece. You need to have two fantastic dancers. It’s beautiful choreographic writing, like perfection,” Loukos says. In Marin’s 2001 Grosse Fugue, arms dangle and sway, and the dancers look deceptively casual, despite their intricate involvement with the imposing Beethoven music. Loukos describes it as “the quintessence of Maguy’s work. It’s at the same time very musical, extremely expressionistic and very theatrical. I would say Billy’s dance is very peaceful, very sweet, while Maguy’s is like boxing, it’s so strong. They never leave the stage, and they don’t stop.”

>[Lyon Opera Ballet]

Through March 14, [Joyce Theater,] 175 8th Ave. (at W. 19th St.), 212-242-0800; $10-$59.