© John Ross Sadler's Wells' fourth annual Flamenco Festival London. Ballet.co Magazine coverage: March 2007 April 2007 'Huso de la Memoria' reviews Yerbabuena (dancer) in reviews Eva Yerbabuena company reviews more Charlotte Kasner reviews Discuss this review (Open for at least 6 months) Gallery of Photographs

Once flamenco ceased to be the private expression of a minority grouping in Spain and entered the cabarets and later the stages of the world, it exposed itself to influences from other dance and arts forms. To the purists this is a disaster that threatens the integrity of the form, but, it does seem that if flamenco is to survive and develop, it cannot be frozen in aspic, otherwise it becomes the communication of the past, not the present.

Eva Yerabuena has not neglected the roots of her tradition but has absorbed aspects of ballet and contemporary dance and, musically, jazz. The opening Taca-Taca incorporated pirouettes and even petit tours for the men, but the flamenco turns with their upper body corkscrew were also well in evidence. Taca-Taca was both witty and dramatic. Technically probably a chico dance, the Company managed to create a palpable air of tension at the opening that grabbed the attention and never let it go throughout the evening. Vocalisations spread beyond the usual jaleo and the choreography served to introduce individual characters.

This was an ensemble evening but Eva Yerbuena had plenty of opportunities to shine, not least in Espumas del Recuerdo with the traditional bata de cola (tail dress) and shawl. This is often used as a display of virtuoso fluidity of braceo, filligrana and upper back. Although this was less in evidence than may have been expected (she was if anything a little stiff in the back), the use of the tail and shawl transformed her into a vision of a sea creature with blurred and extended outlines. If nothing else it was a feat of stamina.
 

Aida Badia's solo Garcia was haunting with a marvellously surreal exit through the set. Indeed the set went beyond the functionary. Two, giant female, Lorca-esque faces stared unforgivingly out at the audience like Cheshire cats that have escaped from the House of Bernada Alba. They were then replaced by Pollack-like panels, only to re-appear later. The musicians were upstage centre behind a gauze which enabled them to be both present and central but unobtrusive. The traditional guitars were augmented by a flute and percussion; at one stage, perhaps even a rain stick? I would have liked more cante throughout, but what there was was superbly integrated into the whole, again subverting the traditional hierarchy. The costumes came from a warm, earthy palette until just before the end when dancers appeared in blue for A Galera, the choreography of which demonstrated influences from contemporary dance.

Dancing and palmas were accurate and even throughout, for once, technique being subverted to the artistic whole rather than to individual egos.

This will be a hard act to follow.