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She continues to share her programs with Juan Siddi who is listed with impressive ensemble credits. This program included Christine Hall, a tiny native San Franciscan who has toured extensively, and with her own group through Canada and Europe.

In the multi-colored, sometimes difficult to read program, Zertuche defined Ser y estar as “to be” but said her interest was in different states of being. The program certainly demonstrated this, sometimes with great evocativeness, where different blocks of color were projected for the five numbers on crinkled white panels.

With Sombra de la Sombra, from shadows a clustered group of figures slowly emerged, faces and shoulders swathed in scarves trailing over full skirts. Clearly reflecting North African influence on Spanish dance, the effect of muted pink, lavender and blue scarves against the swishing skirts and swaying hips was captivating. When the scarves were abandoned, the women Had At It with vigor and pleasure.

The use of the Zapateado in El Vuelo del Ultimato Pajaro Blanco, “The Last Flight of the White Bird” was startling. Projected behind the musical ensemble were segments of a savage film, perhaps of the same name, but unidentified in the program. It comprised feet shuffling along stark walls, young boys in class with one of them being struck by a grizzled, white-haired teacher with a maniacal look; more bodies shuffling along walls in a cavernous setting; the boys walking down a narrow path, walls waist high to drop off the edge and the screen. At stage front the women, dressed in black trousers and cadet-like tunics, executed the demanding heel-toe dance in precise formation. Juxtaposed against the initial dance made it all the more impressive.

Using the Buleria, Carola Zertuche and Juan Siddi depicted El Sueno Americano “The American Dream”. Translated, it evolved the two first dancing together before Zertuche disappeared behind a screen, where she could be seen, illuminated, from the waist up, her arms, fingers, and head describing figure eights of varying sizes, emphasizing the price of the dream. In California where written public communication is bi-lingual in virtually everything, the message was cogent. (Actually, California is at least tri-lingual and quadri-lingual in official communications, particularly on ballots.)

De Aqui, De Allia, De Donde, “Here, There, Where?” featured Siddi and Hall, a Soleo par Buleria and Hall an Alegrias. Siddi, dancing downstage left, against the ensemble, danced as Hall, seated downstage right in a muted pool of light, muses. When Siddi finished, Hall danced evoking memories of what and where she once was. She gave her solo an almost meditative air, a tad melancholy, free of the maudlin, impressive.

Ser y Estar featured the entire company to celebrate those who have enjoyed dreams come true.

While the concept was clearly Zertuche's, this season of Theatre Flamenco owed much to the skills of lighting designer Patrick Toebe and costumers Cristina Galan, Kirs Sketsamoda, Gabriela, Moda Sevilla, Jody Ellis and Mari Caseres. The musicians admirably adapting to the less traditional format were Chuscales, guitar; Francisco Javier Orozco Fernandez, percussion, singing along with Francisco Borrego and Vicente Griego.

The theme with its fresh use of flamenco, widens its interpretive range, and makes Theatre Flamenco’s performances eagerly anticipated.