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Theatre FlamencoNovember 2008 San Francisco, Cowell Theater by Renee Renouf |
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This is my first Theatre Flamenco season seen since Carole Zertuche assumed artistic direction; the ensemble has shifted from essentially a community-oriented emphasis to one leaning heavily on professional aspirations, limited to five dancers, and doing well by the change. The program format was roughly the same as any flamenco performance, concert style: singing for openers, an ensemble number, a duet by Zertuche and guest artist Juan Siddi, a solo by the guest artist; intermission; a solo by the lead singer; a solo by Zertuche, an extended ensemble final number. While Zertuche retains the high-backed, rush-bottomed chairs for singers and guitarist Calvin Hansen, she relied on several full length mirror rolling panels on which paper are hung and projections are made. She placed the dancers, back to the audience at the program’s start, garbing the women and Siddi in grey trousers with nearly black blouses, providing the opening an air of no nonsense. The movable panels were an ingenious decor solution for the program. Though not providing a solo, Hansen lent excellent support and Jose Anillo impassioned cante.Native to Candiz, Anillo's tiny, square frame seemed to want to burst with the intensity of his delivery;he was ably seconded by Sevilla born Felix de Lola whose height seemed to distribute emotion more evenly. Like most contemporary male exponents, Juan Siddi has forsworn the elaborate male flamenco elaborate jacket, and vest, appearing like someone from the street who dropped in for tapas, sherry and some impromptu inspired exercise. Tall, Siddi’s hands are strong,precise and delicate when manipulating wrist and fingers, making them as visually acute as his precise turns, as equal as each sound of his taconeo. Siddi has assumed direction of the Santa Fe school formerly operated by Maria Benetiz; hopefully he will appear in San Francisco frequently. Siddi should eschew an unfavorable contrast of lighter trousers below a darker shirt accenting his long waist. He will be warmly welcomed any time he returns to local auditoriums.
Carola Zertuche is tall, well matched with Siddi; the duet,Encuentro, demonstrated skillful use of Zertuche’s Manila mantilla by both.While the near-touching-but-never-complete quality of flamenco remained, a brief shoulder contact and Siddi’s replacement of the mantilla on Zertuche’s shoulders balanced the thin line between human intimacy and the classic tease of male-female maneuvers, resulting in some satisfying moments. If the changes progress in this spirit, the Bay Area might add a highly polished flamenco ensemble as well as Theatre Flamenco's longevity to its roster of dance jewels.
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