I write to the soundtrack of a snoring dwarf splayed across the airplane seats in front.
One of a group of foul-mouthed Glaswegians with smokers’ coughs, the dwarf’s tattoed arms are revealed by his tshirt. Drunk Glaswegians don’t feel the cold.
From the top of his head to his butt he is of regular size, but his legs and arms are tiny, with white-socked feet the size of a five-year-old. I learn his name is Turk when his mate wakes him for the descent into Edinburgh. They’ve clearly been hitting the grog hard in Barcelona, and apart from Turk, who had a skinful when he boarded, continue to drink their duty free on the flight. Turk slept solidly for three hours.
As for me, I stretched out too, but used the time to relive the highlights of the past fortnight in Jerez. My eighth Festival de Jerez since first experiencing it in 2009, 2018 will be the last one for a while.
Much has changed for us already this year even though it’s only March. One granddaughter has made her appearance in Melbourne and the other is poised to debut mid-April in Edinburgh. With luck we will be bi-hemisphere grandparents. Plus we now have a home in Broken Head, Australia. Stuart is threatening to put down roots and has joined the table tennis club. I gather croquet is next.
Elka at four days.
But back to the Festival which was dedicated to the very much alive and kicking Angelita Gomez, awarded a medal of honour this year by Andalusia for her services to the art of flamenco.
To make it easy for you to flick through what was a mammoth two weeks of flamenco shows I’ll start with my very subjective assessment of the performances. ¡Disfrutar!
FLAMENCO PERFORMANCES
Opening Show, Friday 23 February, 2018
Ballet Nacional De España, Villamarta Theatre 9pm
This was a BIG program presented in two parts with an intermission after the Bolero.
The company had performed the program several times before so as you would expect of a national corps, they were very sharp and polished. It marked seven years with Antonio Najarro as the director of the Ballet and he is clearly a force to be reckoned with.
ERITAÑA is from the fourth ‘Book’ and the final piece of the suite written for piano “Iberia” by Isaac Albeniz between 1904 and 1909. This fourth section was written to evoke Andalusia (the first two pieces are called “Malaga” and “Jerez” and the Eritaña is a lively piece of music paying homage to the historical Seville flamenco cafe cantante called Venta Eritaña.
References:
https://en.m.wikipedia.org/wiki/Iberia_(Albéniz)
“Isaac Albeniz, Portrait of a Romantic”, (2002) publisher Oxford University Press, by Walter A Clarke accessed https://books.google.es/books?id=dg60ZjqZLfkC&pg=PA64&lpg=PA64&dq=meaning+Eritaña&source=bl&ots=Zid1xbo2A8&sig=BFWROP_26VTtA22vmU1w2yZ91As&hl=en&sa=X&ved=2ahUKEwiI4MWG2L7ZAhVPkRQKHdZ8C5AQ6AEwA3oECAgQAQ#v=onepage&q=meaning%20Eritaña&f=false
In costuming, staging and style, this piece for the corps, with castenets, with some individual and small group features, was typical of what I expected to see from this company. It was a restaging of a classic peice of choreography. The music was recorded which is always a minus for me.
SOLEA DEL MANTON performed by the statuesque Esther Jurado was one of my favourite pieces of the evening. Esther is a commanding presence, a strong woman with a calmness about her that inspires confidence. Wearing a simple black dress with a full skirt and single strap fitting bodice that really showed her powerful upper body, she wielded the black and white closely patterned manton artfully. The musicians were excellent. Having both the male and female voices to sing gave light and shade.
ZAPATEADO DE SARASATE
This was another choreographic piece by Antonio Ruiz Soler, a male solo with live music by a pianist and violinist. The dancer, Jose Manuel Benitez, is young, but technically accomplished. The choreography had a high degree of difficulty in the turns and fast, controlled footwork which Jose Manuel performed very cleanly, especially given that the music was quiet and some parts he danced to silence. It was a long piece with a break and he took bows, that made me think he had finished, however he returned, reprised a section, added a bit and then finished with a flourish. Personally, I would not have put in the break, it seemed gratuitous.
BOLERO
Again we had a beautiful, slim hipped young man, Sergio Bernal, dancing solo, this time with the occasional accompaniment of the seated female corps with fans and later members of the male corps.
With his naked torso showing every single muscle he moved sensuously, mostly using only his upper body with astonishing control.
I felt I had seen a terrific, elegant and energetic show, but it was only intermission. When the company returned to the stage for the second half they gave us a six-part ballet called ‘Alento’ to a recorded orchestral piece that ended with all 28 members of the Ballet dancing. A strong opening night with plenty of flamenco amongst the danza español to satisfy even the flamenco purists.
Friday 23 February
Antonio Rey “Dos Partes De Mi” Bodega Gonzales Byass Midnight
However the night was far from over for me. The midnight show in the Bodega with Antonio Rey on guitar showcased both his divine flamenco and world music. Annoyingly for audience members who still have their hearing, the sound system was ear splittingly loud and attempts by several people to persuade the sound engineer to turn it down failed. He must have had industrial deafness. I moved my chair to the extreme back of the bodega. Invited artist, Joaquin Grilo, strode onstage at 1am and I found a spot standing on the sound stage which gave me a perfect view.
Joaquin gave us 30minutes of maximum Grilo-style dance enlivened by a spectacular mullet and spray on black pleather pants. Joaquin is always a crowd pleaser.
Saturday 24 February,
Manuel Liñan “Baile de Autor” Villamarta Theatre 9pm
“Baile de Autor” by Manuel Liñan was another tour de force by the ever evolving maestro of flamenco dance. This time Manuel was part magician, part showman, conjuring up moods, fantasies, dreams. I joked with Manuel Betanzos on the way into the theatre that Manuel Liñan would have to add abanico, baston and sombrero to his routine of bata de cola with manton this year after his successful “Reversible”. Lo and behold in the second half bata de cola and manton appeared, then fan, followed by a clear perspex baston. No sombrero, but there there is always next year. To be honest I could do without props. Manuel and the music is enough for me. The final piece was a cinematic treat, stripping down to a white singlet Manuel stepped into a shallow tray of water that extended the width of the theatre. With each step, swish and turn the water sprayed and splashed making beautiful patterns against the back wall.
The singer was David Carpio and Manuel Valencia played guitar.
Sunday 25 February, 2018
Compañia Flamenca La Lupi “La Paula” Villamarta Theatre 9pm
This show would benefit from some prior research by the viewer as knowledge of the historical figure of the gitana flamenca from Malaga, La Paula, would help to understand the work better, the program notes did not offer much.
La Lupi, from Malaga, wanted to pay homage to this popular figure born at the turn of the century, and whose final five years were marred by senile dementia. La Paula died of a heart attack aged 76. She is immortalised by the poem ‘Romance a La Paula’, written by Ceferino Sanchez Calvo
http://www.andalucia.com/flamenco/dancers/lapaula.htm
There was also a clear theme of obsessive love for her mother, also a dancer, but I couldn’t find any historical reference for this.
The style of dance La Lupi chose to characterise La Paula bordered at times on burlesque and bawdy which, which while common of dancers in Malaga (and one reason I am not fond of their style), does not gel with what has been written about La Paula. She is said to have danced mostly with her upper body with elegant movements of her arms and hands. La Lupi went way over the top and thereby lost impact.
Juan de Juan danced a strong petenera in a masculine, staccato, gitano style which seemed more Farruquito than Farruquito.
The musicians were excellent, especially Chelo Pantoja of Jerez, who sang and also danced a little as La Paula’s mother and invited artist Maria Terremoto. Maria only needs to open her mouth to sing saetas to open my tear ducts. Other singers were David ‘El Galli’ and Manuel Tane. Los Makarines also sang bulerias and the guitarists were Oscar Lago and Curro de Maria. Percussionist was David Galiano, palmista was Roberto Jaen, and Nelson Doblas played violin.
Miguel Poveda name appears on the program notes in the long list of acknowledgements, so when he walked on stage singing the copla ‘La Paula’ the Villamarta roof nearly came off. His and Maria’s singing and Chelo’s song and dance were the highlights for me. Miguel returned for the finale to sing again and proved what a good sport he is.
Sunday 25 February
Roman Vicente, La Guarida Del Angel 11pm
From the Villamarta I went directly to Guarida Del Angel for the standing room only 11pm show. It started at 11:30pm with the announcement that alongside the headline act, guitarist Roman Vicente, Farruquito would not be appearing as billed because he had torn a meniscus that afternoon in Seville. He even apologised to us in a video recording projected on the wall. Younger brother, ‘El Farruco’ Antonio Fernandez Montoya, did his best to fill his brother’s shoes. Several people left when they realised Farruquito would not be dancing but to be honest I was happy just to hear Roman Vicente. What an artist!
Monday 26 February,
Belen Lopez, ‘Flamenca’, Sala Compañia 9:30pm
There was no Villamarta show so with a class that did not end until 6:30pm, this time slot was perfect for me. Belen Lopez, from Tarragona, is a high energy, young dancer. It has been eight years since her first appearance at the Festival and she has grown in stature in that time. There was no grand theme or fancy staging, just a confident, solid program of four dances (seguiriya, tangos, alegria con bata de cola with bulerias de Cadiz, and tarantos con manton), delivered with convincing emotion. She has a trademark jumping style to emphasis peak moments. In the fin de fiesta finale the artists took a selfie which seems to be a thing now.
The singers were Manuel Tane, Morenito de Lllora and Pedro Jimenez. Guitarists were Juan Jimenez and Carlos Jimenez while the percussionist was Rafael Jimenez ‘Chispa’.
Tuesday 27 February
“Flamenconautas, Compañia Internacional de Flamenco: Vamo’alla” Villamarta Theatre 9pm
For only the second time (to my knowledge) the Villamarta Theatre stage was filled with flamenco artists – dancers and musicians – from all over the globe. You can’t please all of the people all of the time but 95% of the 14 pieces they presented pleased me very much! The artistic director and choreographer Javier Latorre danced twice, solo and with groups and for a fifty-year-old who doesn’t perform much any more he acquitted himself well. The Japanese singer Yuka Imaeda was convincing, especially por bulerias.
I enjoyed Karen Lugo and Jose Maldonado’s contemporary piece and Jose Maldonado’s zorongo solo was wonderful. I would be remiss if I did not question the wisdom of having Shoji Kojima dancing. Age is no barrier to performance (he is 78) but a lack of ability is. I respectfully disagree with El Diario’s reviewer Fran Pereira and suggest it is time Kojima san exited the stage gracefully. Juan Gomez ‘Chicuelo’ accompanied Kojima on guitar as he has done for decades.
Photo credit El Diario
Tuesday 27 February
Maria Terremoto “Raices” Bodega Gonzales Byass Midnight
The sublime Jerez gitana, Maria Terremoto, and 11 of her Jerezano friends and family, including Melchor Borja, on a grand piano, gave us a show to remember. Her talent is formidable and she performs confidently and professionally. Her singing style is natural, but has great power. Still so young, (27) it will be interesting to see in what direction beautiful Maria takes her talent. Invited singers: Rafael del Zambo, Enrique Remache, Manuel de la Nina. Guitar: Nono Jero, Percussion: Carlos Merino, Chorus: Ana Gonzalez, Inma La Carbonera, Encarni Benitez, Palmas: Manuel Valencia, Manuel Cantarote.
Wednesday 28 February
Ana Morales “Requiem”, Museo de Enganche de la Real Escuela Andaluza de Arte Ecuestre, Salon 1810 1pm
Artist in residence (a new Festival feature) Ana Morales staged the second iteration of her work in progress in the open space of the Museo Del Enganche with the audience seated on three sides. She will perform it again at the Seville Bienal too under the title “Sin permiso. Canciones para el silencio”. Four pieces, (costume changes on stage) all very different in mood and content, but all virtuosic except the last short homage to her late father which she danced wearing his overcoat. In one piece she mirror danced in silence and to percussion by Daniel Suarez, with dancer Jose Manuel Alvarez in a manner that seemed to show the deterioration of a relationship. Then she donned bata de cola to dance a serrano to the singing and guitar playing of the gorgeous Juan Jose Amador. In each piece she connected with the audience, sometimes literally reaching out to them and very generously (and bravely) gave us the opportunity afterwards to ask questions and provide feedback directly to her in person. When she danced this work at Sadlers Wells a week prior it was only thirty minutes. Somehow within a week she managed to add thirty minutes.
Wednesday 28 February
Rocio Molina “Caida Del Cielo” Villamarta Theatre 9pm
This is not a new work by Rocio and the title made it clear that we were in for a wild ride, however Rocio still managed to shock and offend people. The show opened with Rocio on drums bashing along to a rock metal song wearing a hooded bathrobe. She returned with a virginal white bata de cola and bare feet. Using the white plastic covered floor of the stage like a wall, she moved as if in a trance, then bounced and slid across it. The piece ended with her disrobing completely, strategically placed arms and hands a la the Venus de Milo. A musician helped her dress for the next dance. In the space of an hour and half she barely left the stage and moved through a range of characters and costumes, only one of which I had seen before, the torero with knee pads which she peformed a version of at the Bodega GB last year. My favourite piece was the slightly S&M garrotin in which she looked like she was going to strap on a dildo but instead stuck a packet of crisps to her pudendum and a sombrero on her head.
She flirted and played with the crisps provocatively and humourously all the while continuing her trademark perfect soniquete. Rocio’s command of her body and compas is complete. I can’t think of another female dancer who comes close. After she destroyed/painted the stage with a plastic bata de cola dipped in what looked like blood and mud (a musician later washed her feet for her on stage), she danced to hard rock music then donned a ra ra skirt and midriff floral top while eating grapes to finish with a flourish. Ole Rocio! Not sure where you will from from here but eternally curious to see.
Co-Artistic director for dramaturgy, sets and lighting, Carlos Marquerie, electric bass guitar and singing: Jose Angel Carmona, Compas and percussion: Jose Manuel Ramos ‘Oruco’, Drums and percussion: Pablo Martin Jones, Choreographic assistance: Elena Cordoba
Thursday 1 March
Alfonso Losa “Con-Secuencia’, Villamarta Theatre 9pm
This one man show was said to be a reflection of all the influences that come to bear on an artist and that cause them to evolve. Further it was to be a conversation between the building blocks of flamenco and the necessity to articulate new dance languages. Losa is a fast and physical dancer and he carried the show successfully with fantastic support from the gitana cantaora La Tana and singers Ismael de la Rosa ‘El Bola’ and Manuel Tane. The guitarist was Yerai Cortes. The final bulerias was electrifying. My only quibble is that Losa kept the same trousers on the entire show despite the opportunity for a full costume change in the musical numbers. Sweaty hair is one thing but completely saturated pants are offputting.
Friday 2 March
David Palomar, Riki Rivera, El Junco and Roberto Jaen “Que Pasaria Si Pasara?” Villamarta Theatre 9pm
The consummate comedic singer-showman, David Palomar, appeared to be the main attraction in this show dreamed up by Riki Rivera, but I was surprised and delighted to see how even-handed the performance was. Every one of the Gaditanos got a chance to showcase hitherto hidden (to me) talents. El Junco delivered a rapid fire comedic spoken piece, Riki Rivera sang and Robert Jaen danced. Skewering sacred cows, satire, impersonations, word play, is all par for the course in Cadiz, but not often seen in flamenco. The show was huge fun even if a lot of the script flew over my head. There can be no denying Palomar has one of the most versatile voices, El Junco dances like a dream, Jaen is a metronome, and Rivera’s guitar playing is perfection. A fabulous show!
Friday 2 March
Gema Moneo, “El Sonida de Mis Dias”, Sala Paul Midnight
Jerez-born 26-year-old Gema deserved this chance to dance solo for the first time in the Festival. Last year Farruquito selected her to partner him in ‘Baile Moreno’ at the Villamarta and she was mesmerising. She has been studying and performing full throttle since that opportunity and has improved solidly as a soloist since I saw her at La Guarida Del Angel in the off festival program last year. There was nothing fancy in the sold out Sala Paul program, everything she wanted to say she said with her dance and with the quality of the musicians. Her wonderful trio of singers were Miguel Lavi, Manuel Tane and Jesus Corbacho, with invited artist her uncle, the singer Luis Moneo. The guitarist was Juan Campallo and Percussion was by Ane Carrasco. Congratulations Gema, you are fulfilling your promise.
Saturday 3 March
Eduardo Guerrero “Faro” Bodega La Constancia 1pm
After winning the audience’s favourite Villamarta show award for last year’s solo show “Guerrero”, Eduardo brought us a slightly more pared down solo work evoking the seascape of his native Cadiz with the lighthouse as a powerful metaphor. With couturier costumes tailored skin tight (four dances = four costume changes) and a spare stage set of multipurpose white boxes, some of which he adjusted mid dance and later leapt on to to do footwork and a white frame clothes rack, the show benefited from Guerrero having toured it extensively overseas. It’s a physically taxing performance -caña, tangos, seguiriyas and alegrias – and as usual he gave us his last drop of sweat with just a good length of pause for the singers to have their moment in the spotlight and well deserved it was. Anabel Rivera so relaxed and confident singing “Alfonsina y al mar” and Manu Soto letting rip later in his “Rompio el Amor”. Another impressive show that won him more fans.
Saturday 3 March
Andres Peña and Pila Ogalla, “La Tournee”, Villamarta Theatre 9pm
This is the show many of us had been eagerly anticipating. With two past ‘best of festival’ awards in the bag (one for Andres for his one man show in 2014 and one jointly in 2016) plus a third in 2008 as an invited artist (Miguel Poveda’s show), there was a lot of pressure on the pair to deliver again.
And deliver they did! Starting with simple concepts of life as a journey in which every day is the same but no two days are alike, alongside the reality of a travelling band of flamenco artists arguing over which foreign city they want to travel to for work, they put together a series of solos and duets that played to their strengths. There aren’t too many married flamenco dancers of the calibre of Andres and Pili. You can see them read each other’s minds and the chemistry between them is authentic. Using Pilar’s manton to bind themselves together and embrace was sexy and magical. Pilar shone in her solos and my favourite moment of the evening came in the abandolao when Andres really did abandon himself to the joy of dance. The smile on his face was pure gold. That is ‘duende’.
If I could choose, I would live it again exactly so that nothing repeats itself.” This is the quote that ends the program notes. I shall be looking for an opportunity to see “La Tournee” again as I am sure I will enjoy it even more the second time around.
Kudos to David Coria for his stage direction. I loved the bare stage (no curtained wings) with the only props the red chairs which Andres danced on and the hats which gave an interesting silhouette to each artist. Wonderful singing by Inma Rivero, Emilio Florido, and Miguel Rosendo, Guitarist (as always): Rafael Rodriguez and Palmas: Roberto Jaen.
Sunday 4 March
Ballet Flamenco Andalucia Instituto Andaluz Del Flamenco ” Flamenco, Tradicion, Vanguardia y Proyecto Cantera” Villamarta Theatre 9pm
Rafael Estevez was back with another immaculately rehearsed and staged ensemble show in three parts; Mediterranea/Atlantica, Hierro/Bronce and Tierra/Aire.
Estevez gave himself plenty of stage time as did the principal dancer-choreographer Valeriano Pañas. They shared choreography honours with the dancers. Soloists this year were Sara Jimenez and Macarena Lopez. Male corps members were Marti Corbera, Borja Cortes, Eduardo Leal and Alberto Selles, while the female corps were Nadia Gonzales, Gloria del Rozario and Carmen Yanes. The guitarists were Juan Torres and Pau Vallet. Singers were Sebastian Cruz, Jose Luis Carcia “Cheito” and Jose Luis Perez-Vera. It was another strong show, however I would like to see less of Estevez and more of Alberto Selles, the standout male dancer for me.
Monday 5 March
Jesus Fernandez “Puntos Incabados”, Sala Paul 9:30pm
This show filled the time slot of the Villamarta and sold out. Much was expected of Fernandez who was last at the festival seven years ago, but I was sorely disappointed. Whilst his footwork is technically brilliant he has a slackness in his upper body and arms which verges on camp. The work was constructed in tandem with the contemporary dancer, Ivan Amaya, with solo and partner moments, the latter being some of the more interesting bits of the show. Fernandez also danced with Anabel Moreno, styled as the stereotypical hypersexual ‘Carmen’ and whilst the execution of the choreography was competent the pairing was completely unbelievable and did not excite. The El Diario review said that Fernandez had been mentored by Daniel Doña and Doña is credited with artistic direction and co-choreographer. I don’t think Doña helped him. The invited artist was the great singer Miguel Ortega and Jose Almarcha played guitar.
Tuesday 6 March
Rafaela Carrasco “Nacida Sombra” Villamarta Theatre 9pm
This was one of my top five shows. Rafaela created four strong, very different female characters with complementary beautiful costuming. Rafaela’s role was that of the religious mystic Teresa de Jesus, while the other dancers enacted the roles of Spanish feminist novelist Maria de Zayas (1590 – 1661), the celebrated actress Maria Calderon (1611-1646) who was the mistress of King Philip IV for two years and bore him his only heir, and Mexican, self-taught philospopher, scientist and latterly nun, Juana Ines de la Cruz, who lived during the mid-16th century.
The dancers were Florencia O’Ryan (used to go by Zuniga – the stunning Chilean dancer I talent spotted at the T de Triana in September 2011 who went on to the Ballet Flamenco De Andalucia), Carmen Angulo and Paula Comitre. Guitarists were Jesus Torres and Juan Antonio Suarez “Cano”. Singers were Antonio Campos and Miguel Ortega.
Tuesday 6 March
Ezequial Benitez “Quimeras Del Tiempo-Recuer2” Sala Paul 7pm
My favourite, male, living Jerezano singer, Ezequiel Benitez was in stellar company, including the singer Jesus Mendez and dancer Maria Del Mar Moreno. He really is the most beautiful man and when both he and Jesus sang for Maria my heart melted. An hour I will cherish. Guitarists were Jose de Pura and Paco Leon, Palmas by Chicharito, Israel Tubio and Jose Peña.
Wednesday 7 March
Daniel Doña Compañia De Danza Española “No Pausa” Villamarta Theatre 9pm
This was probably my least favourite show. I can only watch so much Danza Española to recorded music at a flamenco festival, but the El Diario preview article assured us it would include flamenco. Well blink and you would have missed it (actually it was more folkloric than flamenco). The title was misleading too, there were plenty of pauses in the so called perpetual motion machine. Add to that I only really rated one of the dancers, Cristina Gomez. So there I was wondering whether I could sneak out unnoticed. Answer, no. Daniel Doña danced two solos, and the other two dancers were Soujung Youn of South Korea and Cristian Martin. The talented guitarist was Francisco Vinuesa and the singer David Vazquez.
Thursday 8 March
Antonio Molina ‘El Choro’ “Gelem” Villamarta Theatre 9pm
Slightly odd programming to schedule a performance by eight men on International Women’s Day, but ‘Gelem’ was a strong Villamarta production resulting from a collaboration between the gitano dancer, Antonio Molina ‘El Choro’ (Huelva) and dancer-choreographer Manuel Liñán. Invited artist, singer, Pedro El Granaino, had me in tears in the opening song. ‘Gelem’ is a gitano hymn of struggle and suffering. Singers were Jesus Corbacho, Jonathon Reyes and Pepe de Pura, Guitarists Juan Campallo and Manuel de la Luz, plus Percussionist Paco Vega. A very satisfying 11 part show that will take El Choro to the next level in his career.
Friday 9 March
Isabel Bayon Compañia Flamenca “Dju-Dju” Villamarta Theatre 9pm
I saw this work, which is artistically and choreographically directed by Israel Galvan, with the same cast, at Seville’s La Bienal 2017. With its vodoo theme I found it amusing as it pokes fun at all the superstitions of performing artists, if a bit fringe for what is billed as a flamenco show. I liked the section where the three women danced as a kind of witches’ coven. That part has disappeared and in its place there is more humour and less dance. I was not alone in that estimation. The dancers, besides Bayon, were Alicia Marquez and Nieves Casablanca who acquit themselves well when allowed to dance. The guitarist (a Jesus character) was Jesus Torres, the singer Alejandro Villaescusa, Clavichord and Piano were played by Alejandro Rojas-Marcos and the motorised props, including a dancing white xmas tree, were operated by Pedro Romero.
Friday 9 March
Juan Ogalla “Bailar Para Contarlo” Sala Compañia midnight
The show of the night (for me) was Juan Ogalla’s triumphant return to the Festival after seven years’ absence. In the meantime he has worked solidly, especially in France, the US and in Canada. With his sister, Pila Ogalla, as artistic director he crafted an impressive body of work that played to his strengths; his powerful, mature male presence, explosive footwork and arguably the most interesting soniquete of this festival. Yes, even better than Guerrero’s. The musicians were wonderful too, Emilio Florido, Miguel Rosendo, Manuel Gago (cante), and Eugenia Iglesias (guitar). ¡Ole Juan!
Saturday 10 March
Manuel Fernandez Montoya ‘El Carpeta’ “A Bailar” Villamarta Theatre 9pm
It was a disappointing debut show at the Villamarta by El Carpeta. Expecting a 20-year-old to carry the weight of the closing show of the Festival was a lot to ask and he came up well short. The credits and the preview article make it clear that the artistic and musical direction was El Carpeta’s responsibility alone. Where to begin. As all good teachers try to I will praise the fact that he accepted the challenge and that he does indeed have very snappy footwork and great, long remates that have developed ever since I first saw him dance live in 2009, dancing por bulerias in Farruquito’s come back show. It is also possible that Farruquito’s being unable to perform left him with a hole he had trouble filling. Certainly I enjoyed his mother, Rosario Montoya “La Farruca”‘s bulerias dancing more than his.
Now to the problems that beset the seven-part show.
Nine musicians sat on stage in a semi-circle for most of the show. Two of them were percussionists which always makes me anxious. One percussionist I can handle, but two is one too many for flamenco, especially when the sound levels are all over the place. The lighting also seemed to be jinxed with levels too low at the beginning in the Seguiriya and spots not hitting the mark or cutting out at the wrong time. There had been flooding in parts of the theatre basements and toilets earlier that day however it had not affected the stage or equipment. Then there was the extended dischordant piano and song section “Mujer de Maquillaje” by Melchor Borja (with his back to the audience) that went on way too long. If that’s a cry for society to pay attention to the treatment of women I respectfully ask him to let us sing it ourselves.
Also the choice of Africa “La Faraona” to partner El Carpeta in the bulerias was a poor fit and her costume was unflattering. Who advised him on the costuming, including the decision for him to wear glow in the dark shoes for the reprise of the tangos?!
The main choreographic problem El Carpeta has is how to link the various sections of each piece without repetitive marcaje. This exact same problem Farruquito solved in “Baile Moreno” by crafting a story. El Carpeta resorted to marching or skipping across the stage and back with one arm raised to the audience seemingly urging them to applaud him rather in the manner of a boxer when they win a bout. Unfortunately he had not done enough to warrant the applause. Another technical matter he should attend to is that he only ever turns to the right and always the same type of turn. Only the number and velocity of the turns vary.
Despite all that, the family firm are fin de fiesta specialists and, relying as ever on the recency effect, when the show was over and El Carpeta and Farruquito finally stopped talking, they pulled out the big gun for their fin de fiesta, ‘El Moreno’, Farruquito’s cute mini me son.
The two guitarists were the wonderful Roman Vicente whose solo was heartbreaking and David Caro, whose solo seemed unnecessary. The wind instrumentalist was the virtuoso Sergio de Lope. Singers were Ezequial Montoya “Chanito”, Juan Fernandez “El Negro” and Ivan Carpio. Percussionists were Fali de Electronico and Lolo Fernandez.
And that’s a wrap for Festival de Jerez XXII from me! Time for Turk and me to return to the real world.
You can search for videos of edited highlights of each show on vimeo.com . I’ll be back soon with commentary on my dance workshops with Angel Muñoz, Eduardo Guerrero and Leonor Leal.
Dancer’s lunch (above).
Never Ending Gap Year 