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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.

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.

Dance Magazine
Nat'l Reviews by Josie Neal

Lock's exploration of long-held, off center balances was beautifully controlled.

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