Tuesday, November 16, 2004
Flamenco Ole! spans the 36th parallel to the Outer Banks
When Spanish native Julia Lopez arrived in the United States in the 'eighties, she brought with her what she knew and what she loved - flamenco!
And she brought it to Kill Devil Hills Saturday night.
The arriving audience seemed more at home on their second outing to the Outer Banks Forum for the Lively Arts' new venue at the First Flight High School.
Flamenco guitar music played on the public address as audience members caught up with their new neighbors. (Season ticket-holders take the same seats for each show.)
The swanky auditorium was tolerably filled when Outer Banks Forum president William Teague addressed the multitudes.
After recognizing the evening's underwriters, he introduced V.P. Programs Executive Director Amy Huggins, who announced the sale of 300 season tickets so far.
Then the director of Flamenco Ole!, the first dance ensemble to appear in the Forum's 22 years, came onstage.
Julia Lopez thanked all involved in helping bring them to the windy Outer Banks. "The bed was moving this morning," she said in wonder.
A professional dancer since she was 17, Lopez trained in Madrid with notables La Quica, Paco Fernandez, Ciro, Tomas de Madrid and Antonio Martin. She became known throughout Spain, appearing on television, in film, and on such prominent stages as the Corral de La Moreria in Madrid.
In 1986 she founded Flamenco Ole! which has become known for seeking and exploring new trends and influences in flamenco, a style of dancing characteristic of the Andalusian gypsies, vigorous and rhythmic with clapping and stamping of feet, while celebrating the tradition of classical dance.
The curtains parted to the sound of a nylon-string flamenco guitar, and five dancers stepped out in unison. They were dressed in very colorful traditional Spanish dresses with shawls and all wore their long hair pulled back.
Lest the mention of shawls convey a matronly image, know that nothing could be further from the truth. These were athletic, and attractive, young women.
Forming geometric patterns on the stage, they filled the auditorium with the polyrhythmic percussion of their virtuosic feet and clapping hands.
Seated next to the black-clad guitarist at the rear of the stage was a similarly-outfitted vocalist who sang a blt and softly clapped his hands to the beat. He could have been singing lyrics or random phrases (This reviewer's Spanish begins and ends with "Aviso! La via del tren subterraneo es peligrosa. If the train stops do not get out"), but he sang full-throatedly and with authority.
Several folding chairs covered in more brlght fabrics sat on elther side of the guitarist and singer while the women danced.
When they finished, a lone male dancer in earth-tones entered and took the limelight while the previous dancers sat, also clapping softly and shouting, off-microphone, an occasional assent or imprecation.
This young man, feet ablaze, strutted, strolled and teased an imaginary bull as the guitarist played and the vocalist sang.
The songs and dances ebbed and flowed seamlessly into each other and the happy audience took every chance to applaud vigorously.
A few numbers started with all sitting in moon-colored light while the guitar played, at first softly. Some combination of the dancers would rise to perform as the light turned a sunrise-orange.
Various combinations of dancers performed, although until the end of the show, the women never danced with the man. While he danced, they sat. He sat during one of their numbers; otherwise, he stayed offstage.
The little guitarist took one piece all for himself. Sitting hunched over his guitar, his cheek almost resting on the instrument, he let his short fingers stroke and caress the strings. A giant, orchestral sound issued, by turns tender and savage, with all the percussion of six dancers, though only his fingers were dancing.
The women wielded castanets for one dance, and sheets of percussive rhythms showered the audience.
Senora Lopez introduced the troupe members after the final dance. All of their names sounded Spanish, though one or two could have been English and given a Spanish pronunciation. (The troupe is now based in Philadelphia.)
This writer was not quick enough to record them, although the group's website, http://www.flamencoole.org identifies the guitarist as Carlos Rubio, who has been playing since he was 13. Since then, a long and distinguished career has brought him to the stages of Lincoln Center and Carnegie Hall, among others.
All the performers were brilliant, and brought another new experience to the Outer Banks. And it's about time, too, as Spain's Costa del Sol and Kill Devil Hills already share the 36th parallel.
©2004 Womack Newspapers Inc.
And she brought it to Kill Devil Hills Saturday night.
The arriving audience seemed more at home on their second outing to the Outer Banks Forum for the Lively Arts' new venue at the First Flight High School.
Flamenco guitar music played on the public address as audience members caught up with their new neighbors. (Season ticket-holders take the same seats for each show.)
The swanky auditorium was tolerably filled when Outer Banks Forum president William Teague addressed the multitudes.
After recognizing the evening's underwriters, he introduced V.P. Programs Executive Director Amy Huggins, who announced the sale of 300 season tickets so far.
Then the director of Flamenco Ole!, the first dance ensemble to appear in the Forum's 22 years, came onstage.
Julia Lopez thanked all involved in helping bring them to the windy Outer Banks. "The bed was moving this morning," she said in wonder.
A professional dancer since she was 17, Lopez trained in Madrid with notables La Quica, Paco Fernandez, Ciro, Tomas de Madrid and Antonio Martin. She became known throughout Spain, appearing on television, in film, and on such prominent stages as the Corral de La Moreria in Madrid.
In 1986 she founded Flamenco Ole! which has become known for seeking and exploring new trends and influences in flamenco, a style of dancing characteristic of the Andalusian gypsies, vigorous and rhythmic with clapping and stamping of feet, while celebrating the tradition of classical dance.
The curtains parted to the sound of a nylon-string flamenco guitar, and five dancers stepped out in unison. They were dressed in very colorful traditional Spanish dresses with shawls and all wore their long hair pulled back.
Lest the mention of shawls convey a matronly image, know that nothing could be further from the truth. These were athletic, and attractive, young women.
Forming geometric patterns on the stage, they filled the auditorium with the polyrhythmic percussion of their virtuosic feet and clapping hands.
Seated next to the black-clad guitarist at the rear of the stage was a similarly-outfitted vocalist who sang a blt and softly clapped his hands to the beat. He could have been singing lyrics or random phrases (This reviewer's Spanish begins and ends with "Aviso! La via del tren subterraneo es peligrosa. If the train stops do not get out"), but he sang full-throatedly and with authority.
Several folding chairs covered in more brlght fabrics sat on elther side of the guitarist and singer while the women danced.
When they finished, a lone male dancer in earth-tones entered and took the limelight while the previous dancers sat, also clapping softly and shouting, off-microphone, an occasional assent or imprecation.
This young man, feet ablaze, strutted, strolled and teased an imaginary bull as the guitarist played and the vocalist sang.
The songs and dances ebbed and flowed seamlessly into each other and the happy audience took every chance to applaud vigorously.
A few numbers started with all sitting in moon-colored light while the guitar played, at first softly. Some combination of the dancers would rise to perform as the light turned a sunrise-orange.
Various combinations of dancers performed, although until the end of the show, the women never danced with the man. While he danced, they sat. He sat during one of their numbers; otherwise, he stayed offstage.
The little guitarist took one piece all for himself. Sitting hunched over his guitar, his cheek almost resting on the instrument, he let his short fingers stroke and caress the strings. A giant, orchestral sound issued, by turns tender and savage, with all the percussion of six dancers, though only his fingers were dancing.
The women wielded castanets for one dance, and sheets of percussive rhythms showered the audience.
Senora Lopez introduced the troupe members after the final dance. All of their names sounded Spanish, though one or two could have been English and given a Spanish pronunciation. (The troupe is now based in Philadelphia.)
This writer was not quick enough to record them, although the group's website, http://www.flamencoole.org identifies the guitarist as Carlos Rubio, who has been playing since he was 13. Since then, a long and distinguished career has brought him to the stages of Lincoln Center and Carnegie Hall, among others.
All the performers were brilliant, and brought another new experience to the Outer Banks. And it's about time, too, as Spain's Costa del Sol and Kill Devil Hills already share the 36th parallel.
©2004 Womack Newspapers Inc.
