NOCHE FLAMENCA

Soledad Barrio and Martin Santangelo, Artistic Directors of Noche Flamenca, presented a choreographic homage to the 18th-19th century Spanish painter and printmaker, Francisco Goya, in Los Disparates (Irrationalities) at the Joyce Theater.

In a recent interview, Santangelo described flamenco as a “catharsis… a scream, which allows the audience to feel deeply and then go on with their lives, even when facing impossibility.” He and Barrio began working on this piece during the pandemic, at the height of global insecurity, and he confirmed that this piece is more than relevant now with current protests and illegal immigration detainments. Goya’s 22 wood cuts/prints which formed the inspiration for these dances expressed scenes of poverty, cruelty, political unrest, dreams, and fantasies, all aspects of the human condition. 

Santangelo also described how this community of dancers have equal weight on stage with the musicians and singers. He began by first working with the musicians, then the vocalists — Manuel Gago, Emilio Florido, Carmina Cortes, and Salva Cortes — and, lastly, the dancers. He noted the Spanish lyrics matter very little; rather, the atmospheric sound the singers evoke is most important. The all important musical arrangements were by Salva de Maria, Eugenia Iglesias, David ‘Chupete’ Rodriguez, and Martin Santangelo.  

Composed of eleven different dances, they transition subtly from one to the next, often through the gifted lighting of Mark London. The entire company performs the first dance, The Tree, clumped on top of a table that simulates folks balanced precariously on a branch in Goya’s third wood print. A “director” initiates dance and clapping; then the dancers rearrange the table and their relationships, as they tap and hold on to the table for stability in the second piece, Scenes of War.

Lluvia de Toros (Rain of Bulls) demonstrates animal ferocity and male dominance in a complex 12/8 rhythm of clapping and aggressive stamping heel work.

In La Picarona (meaning naughty girl) three women (Stella Alexa Ratini, Golding Garcia, Maria de la O) sit center stage in chairs facing the four diagonals, holding and fluttering fans that circle from their torsos, flirtatiously opening and closing their legs hidden under skirts as their feet tap rhythmically, then arching and standing.

And Still They Don’t is an exploration of one’s ambivalence towards death.  A man and woman are divided by a thin wall; she, the gate keeper of death, he, the undecided. The interplay with the wall falling and rising becomes a representation of finality.  

Lealtad (Loyalty) shows one man against a masked group; masked to the side of their faces, indicating “two faced”  and betrayal and distrust. 

Awakening ends the show, with full cast and musicians on stage, dancing with pride, defiance, bravery, all exemplifying flamenco’s exuberance.  After many bows, the cast continued with an encore of improvisation, traditional to flamenco and Spanish party style.

Kudos to this all-star cast and to the choreographers for bringing art history and political realism to our 21st century stage. 

EYE ON THE ARTS, NY — Mary Seidman