photo: Alfonso Losa & Soledad Barrioby Eva Yaa Asantewaa
Noche Flamenca and the great Soledad Barrio are encamped at the East Village’s Theater 80, midway through a two-month stand before taking their new production, Aldaba, on world tour. Once again this Spanish troupe’s dancing, guitar playing and singing are tremendous; it would be news if they were not–and that’s unlikely to be the case as long as founder/artistic director Martín Santangelo draws breath. The troupe continues to top itself, show after show, exceeding all expectations.
Aldaba’s name refers both to a stone castle’s sonorous door knocker and to life-shaking moments of awakening. Accordingly, this full-tilt production offers flamenco shorn of theatrical adornment and gimmicks, infused with titanic emotion. A handful of chairs provide the small stage’s only decor, variously reconfigured and occupied by singers Manuel Gago and José Anillo; guitarists Miguel Perez and “Chuscales” (José Valle Fajardo); company dancers Barrio, Vanesa Coloma and Elena Martín, and guest dancers Alejandro Granados and Alfonso Losa. They are all “just folks” whose costumes eschew both uniformity and showbiz glamour, tending towards the personal, rumpled and funky. Stephen Petrilli’s lighting might be more aptly called “darking.” In many scenes, heavy shadows appear to take on flesh, emit primal, heartbroken cries, and pluck liquid lines of sound from guitars. Even when fully illuminated, performers reach within themselves to draw from wells of melancholy and dark power.
Both the unforgettable Barrio and the intrepid Granados have redefined flamenco dance for American audiences. Now comes Losa in his first season with Noche Flamenco, a revelation. In the Solea por Bulerias, he seems to struggle with himself, a figure of roiling, looming danger, at times veering so far off-kilter (emotionally and physically) that he might tumble to the floor. But then he turns, rears, and with a look of gathering clarity, pulls himself together in time to launch a new attack on invisible or remembered enemies. Savion Glover’s next tap-plus experiment should include a one-on-one with Losa. Now that would be worthy match.
How wonderful to see Noche Flamenca again at Theater 80, its New York home, where the comfortable intimacy of the space and the performers’ clever use of it make an audience feel like guests at a tablao or members of the troupe’s extended family! You can catch Aldaba there through July 29. For complete schedule and ticketing details, call 212-352-3101 or click here and here.
© 2007 Eva Yaa Asantewaa
Noche Flamenca and the great Soledad Barrio are encamped at the East Village’s Theater 80, midway through a two-month stand before taking their new production, Aldaba, on world tour. Once again this Spanish troupe’s dancing, guitar playing and singing are tremendous; it would be news if they were not–and that’s unlikely to be the case as long as founder/artistic director Martín Santangelo draws breath. The troupe continues to top itself, show after show, exceeding all expectations.
Aldaba’s name refers both to a stone castle’s sonorous door knocker and to life-shaking moments of awakening. Accordingly, this full-tilt production offers flamenco shorn of theatrical adornment and gimmicks, infused with titanic emotion. A handful of chairs provide the small stage’s only decor, variously reconfigured and occupied by singers Manuel Gago and José Anillo; guitarists Miguel Perez and “Chuscales” (José Valle Fajardo); company dancers Barrio, Vanesa Coloma and Elena Martín, and guest dancers Alejandro Granados and Alfonso Losa. They are all “just folks” whose costumes eschew both uniformity and showbiz glamour, tending towards the personal, rumpled and funky. Stephen Petrilli’s lighting might be more aptly called “darking.” In many scenes, heavy shadows appear to take on flesh, emit primal, heartbroken cries, and pluck liquid lines of sound from guitars. Even when fully illuminated, performers reach within themselves to draw from wells of melancholy and dark power.
Both the unforgettable Barrio and the intrepid Granados have redefined flamenco dance for American audiences. Now comes Losa in his first season with Noche Flamenco, a revelation. In the Solea por Bulerias, he seems to struggle with himself, a figure of roiling, looming danger, at times veering so far off-kilter (emotionally and physically) that he might tumble to the floor. But then he turns, rears, and with a look of gathering clarity, pulls himself together in time to launch a new attack on invisible or remembered enemies. Savion Glover’s next tap-plus experiment should include a one-on-one with Losa. Now that would be worthy match.
How wonderful to see Noche Flamenca again at Theater 80, its New York home, where the comfortable intimacy of the space and the performers’ clever use of it make an audience feel like guests at a tablao or members of the troupe’s extended family! You can catch Aldaba there through July 29. For complete schedule and ticketing details, call 212-352-3101 or click here and here.
© 2007 Eva Yaa Asantewaa
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