By Julia Osborne
Special to the Review-Journal
In a city
where it's easier to waste away in margaritaville than to find
a single sip of sangria and where there are more tacos than tapas,
it's surprising to find such an exciting, dramatic flamenco troupe.
Miguelita (who only uses her first name) has created a company
that combines the best of flamenco's Spanish heritage with Middle
Eastern influences, subtle sensuality and more than a little attitude.
The result? Performances that are as searing as they are sexy,
with guitars and drums throbbing a constant, intoxicating rhythm.
That was the case Friday at the
Charleston Heights Arts Center, where four dancers and three musicians
captivated the enthusiastic audience, earning wild shouts of mas,
mas! and a partial standing ovation at the close of the program.
After years of dancing, on her
own and accompanied by her brother, Joselito, on flamenco guitar,
Miguelita formed this local dance company in 1997. Dancers Evette
Aviles, Ramona Esparza and Chelita Lopez have been studying flamenco
and other sorts of dance for years. Joselito plays; another brother,
El Dez, provides percussion (and assorted marketing support offstage);
while Manuel Vicens, who is Joselito's student, doubles on flamenco
guitar and drums. Miguelita is artistic director and choreographer
for the company.
Dances were preceded by competent,
understandable narration by Ellen Vicens, who explained the history
of each and gave suggestions of specific highlights.
The first section, "El Jardin
Flamenco (The Flamenco Garden)" included several dances with
light, bright undertones. Fluttering fans, flowing veils and ruffled
flounces on the long, tight skirts of the dancers substituted
for the flowers, butterflies and birds one might encounter in
a pastoral setting.
The second half of the show included
a lighthearted rumba, a dance native to Seville, Spain, and a
fun ensemble finale.
The dancers worked well together,
demonstrating intricate moves effortlessly. Each dancer seemed
to have her own cheering section in the audience, with hoots and
appreciative olŽs! punctuating the performances on a regular
basis.
Bright smiles alternated with sinuous
expressions to set a complete mood. Several dances ended with
adamant head nods and straight-on stares at the crowd, almost
as if to say: "There! You wanted flamenco, so you got it!"
Miguelita performed two solos during
the evening. First clad in a full-length yellow gown with red-orange
accents, she used oversized red fans to draw the audience in to
her exotic, steamy steps. Her red shoes emphasized some of the
finest and fastest footwork of the evening. Frequently the only
sounds in the hall were her feverish footfalls and some emphatic
drums.
After intermission, she offered
a portion of original choreography for her upcoming "La Vampira,"
the company's next production, scheduled for Oct. 28 at the Flamingo
Library Theatre. This was the precursor of what will be a memorable,
distinctive and decidedly artistic composition.
Throughout the evening, the dancers'
hands and arms were as expressive as their feet, with subtle moves
giving way to determined snaps into the air without a pause between.
The musicians added much to the
evening. Joselito offered a guitar solo in each half of the program.
Each was equally amazing to watch and to hear, as his long, talented
fingers made the intricate passages soar. The complex tonalities
were a delight both for those schooled in flamenco and those who
just enjoy good music.
El Dez frequently added just the
right accent to the dancers' moves. Manuel Vincens, who is originally
from Humacao, Puerto Rico, has only been a serious guitar student
for a few years but already is showing the intensity, skill and
spirit which are needed by serious flamenco artists.
Several sets of costumes were what
one might expect to see in a flamenco bar in Spain, with extravagant
colors and rows and rows of ruffle tops decorated with brass in
the shape of coins emphasized the Moorish influence. The result
resembled belly dancing more than flamenco but was appropriate
nonetheless.
Costume change after costume change
followed -- impressive for a young company of this size. All were
bright and body-hugging, with fringe to fly and long skirts to
pick up to expose legs and thighs during especially rapid fire
routines.
Problems were minor and primarily
technical. In some numbers, the dancers were in a row across the
stage -- but the spotlights formed a triangle, meaning at least
one and often two of the dancers were left to dance in the dark.
There was some singing, but no one wore microphones so it was
occasionally difficult to hear and not particularly clear.
Finally, though Miguelita's loose
tresses were appropriate enough for her vampire solo, she never
left the stage and went directly into the finale. Compared with
the other women onstage, with their neat, pulled-back hairdos
and bright silk flowers, she looked a little too informal.
The generally bilingual audience
enjoyed the entire Spanish-influenced program, and didn't need
to be asked before they joined in the fast, syncopated clapping
that accompanied the finale. All that was missing was a welcoming
tapas and sangria spot to visit after the show.
REVIEW
What: Miguelita'a Flarumba
When: Friday
Where: Charleston Heights
Arts Center
Rating: B+
Attendance: 300