 I saw Flamenco for the first time during my vacation in Spain. The show was given at a small tablao Los Gallos located in the old Barrio Santa Cruz in beautiful Seville. I remember sitting in a third row of a small room filled with locals yelling “Olé” , mesmerized by the fierce energy of the performers, the depth of their emotion, and precision of their body movements.
So when I heard that one of the most acclaimed Spanish troupes Noche Flamenca is touring in New York during June-July, I made it a point to get tickets early and see the show.
Few notes on the administrative side: Noche Flamenco is performing at Theater 80 in East Village and the tickets are $45 ($50 if you order online). This theater is a perfect space for this kind of intimate show and you have a unique chance to sit in the front rows if you come at least 40 minutes before the show and spend 20 minutes in line. These first-come first-served VIP seats are well worth the time in line because Flamenco is best appreciated when watched from close distance. But don’t be greedy and skip the first row if you don’t want graceful Juan Ogalla who is performing a long solo in the first half of the show shake off the access of his sweat and hair gel at you with a turn of his head each time he brings mind-boggling combinations of steps to an abrupt stop.
If you are as lucky as me and my companion, you’ll be treated to complimentary Spanish wine during the break and see the performers smoking outside (I know, they shouldn’t but I guess it does not affect their guitar playing much).
Now about the troupe. Noche Flamenca was founded in Madrid in 1993 by artistic director Martin Santangelo and his wife Soledad Barrio who is the heart and soul of the troupe and its only female dancer. She performs with two other male dancers -- Alejandro Granados and above mentioned Juan Ogalla. That evening there were 7 performers on stage -- 3 dancers, 2 guitarists, and 2 singers.
 All three dancers are world-acclaimed Flamenco performers. Alejandro Granados responsible for most of the choreography is the oldest of the three. He dances with elegance and maturity of a man who knows what he’s worth. He wears a perfectly tailored suit (no bright gypsy shirts) and you can almost see him bursting into dance on a small plazza in a small Andalusian town. He starts on a whim and stops in the middle of the move, grabs his jacket off the floor… and leaves leaving the women breathless and wanting more. A magnanimous lover and a free spirit who can offer his heart and take it away the next moment. Or maybe it’s just one of many personas his dancing brings to life. Second male dancer – Juan Ogala – is much younger and he is a true virtuoso. He is fierce and playful, exposed and at the same time intensely focused on his emotions. He is like a graceful peacock performing a dance devoid of sorrow but serious in its intention to impress and conquer. Solidad Barrio, the only female dancer, is the heart of Noche Flamenco, a small woman who is probably over 50 but with features still carrying her prime beauty shining through her every move. She dances one piece with Alejandro Granados – an intimate yet playful rendition of a scene on the street and she finishes the show with Siguiriya piece. Siguiriya is performed on one breath that’s held in intense anticipation of the climax that follows. A truly communal spirit of Flamenco comes alive in this piece as singers and guitarists take central role in prompting dancer’s self-expression. One minute they drive her to the edge of the stage, and the next moment they spread out in front of her to give her space to express herself or come to terms with her story. Her emotion, as reflective of most Flamenco dancing, is that one of sorrow, longing, love, and acceptance.
Stage decorations are mostly black and the lights are dimmed throughout the performance. Although women change dresses several times there’s no focus on theatrics or costumes. In fact, there are no costumes. The mail dancers are dressed in perfectly tailored suits and women wear flamenco dresses without extra frills. The show is generated through the virtuosity of the performers and profound expression of their personalities while nothing distracts the viewer from the mystery and beauty of the human spirit. In that, you come pretty close to experiencing what “raw” flamenco must be like. The choreography might have evolved with times but the authentic spirit of flamenco self-expression is definitely preserved in full. Is there anything that left me disappointed? The artists received standing ovations but would not dance or sing any extras. I say “Olé!” anyway and leave the theater feeling I was treated to something rare and precious.
Grade: A
Show runs through end of July.
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