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Mary Ellen Hunt
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Jul. 14,
2002 Flamenco of an American flavor and spanning a variety of styles from traditional to modern is the star of "Entrádas," the show Carolina Lugo's Brisas de España opened at the Eureka Theater in San Francisco last week. Lugo's East Bay company offers flamenco aficionados a two-week run of this entertaining "best-of" program as a warm-up to their home season in late July when they'll perform in Walnut Creek with the "Gypsy Dynamo," singer Jesus Montoya. "Entrádas" means "entrances," as in the entrance of a dancer, but it can also mean "beginnings." Brisas de España uses the occasion of their fifth anniversary to present some of their most popular works of the past few years, with pieces choreographed by Lugo and several company members. The program winds up being less spontaneous than a juerga, or flamenco jam session, and more of a theatrical show. Nevertheless, despite some uneasy transitions between the pieces, "Entrádas" never lacks for gusto. Lugo is a protégé of the famous American flamenco artist Lola Montes, and her shows are filled with the kind of story-telling and fusion of various Spanish dance styles that offers satisfaction for both the devotee and newcomers to flamenco. Opening with a fast-paced dance called a bulerias, the 11-member ensemble quickly establishes a lively mood. The dancers fill their movement with verve and no one exhibits greater ebullience than Lugo herself, who brings style and energy to the stage. The intensity of her fervor is matched only by Roberto Zamora's emotive singing. Zamora brings warmth and heart to the musical accompaniment of the three guitarists, Daniel Fries, Sasha Nakra and Dimitri; and cajón player Rami. The use of the cajón, a beat box of Afro-Peruvian origin, is a more recent addition to the flamenco tradition and is typical of Brisas de España's interest in the "new flamenco," where dance styles and modern influences inspire fresh interpretations of this quintessentially Gypsy form. Even in the traditional dances such as the farrúca, performed with a moody drama by Aldo Ruiz, the light-hearted alegrias performed by Carolé Acuña, or the high-spirited boléras danced by Acuña and Devon LaRussa in "Viva Sevillana," the company goes beyond the boundaries of the most traditional flamenco structures and incorporates elements of Spanish classical dance, modern dance and ballet. Whatever the style, though, Acuña, who is Lugo's daughter, Zamora and Lugo reveal not just the polish of experience, but also the joy in dancing. "Mi Sombrero," a garrotín performed by Lugo and Acuña is contagiously exciting and Zamora's dancing in "Solo de Canté" displays his own powerful footwork and assurance. The only minor cavil with the evening is the show's set-up. Often in flamenco even the performers who are not dancing at the moment remain onstage, lending a sense of camaraderie and supportive energy to the others. The theatrical mode of "Entradas," with its distinctive set pieces, necessitates entrances and exits, costume changes and arranging of chairs and props. It makes for a few ungraceful moments of changeovers in the dark and sacrificing some of the flow and communal energy of the program. Although there is an occasional shout of encouragement coming from offstage, only in the finale is there the driving vigor of the members of the group egging each other on. Nevertheless, "Entrádas" is consistently entertaining and a refreshing look at the melting pot of modern flamenco. DANCE REVIEW
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This review initially appeared on July 14, 2002 in the Contra Costa Times. For questions or comments, please contact maryellenhunt@yahoo.com. |