Roberta on the Arts
Flamenco Festival 2014 Presents Eva Yerbabuena Ballet Flamenco in "Lluvia" at New York City Center
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Flamenco Festival 2014 Presents Eva Yerbabuena Ballet Flamenco in "Lluvia" at New York City Center

- Onstage with the Dancers

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Flamenco Festival 2014
Presents:
Eva Yerbabuena Ballet Flamenco
Lluvia
www.evayerbabuena.com

At New York City Center
www.nycitycenter.org

Original Idea by Eva Yerbabuena
Choreography by Eva Yerbabuena
Musical Direction by Paco Jarana
Stage Design by Vicente Palacios
Lighting Design by Florencio Ortiz
Sound Design by Manu Meñaca
Costume Design/Costume Making by López de Santos
Sign Language Teacher by José Tirado López
Helene Davis Public Relations

Dr. Roberta E. Zlokower
March 9, 2014


Program:
El sin fin de la vida
Peldaño
Barro
Soledades
Palabras rotas
La querendona
Dedicated to my grandparents, Concha Ríos & José Garrido…
Lluvia de sal
Llanto


Artists:
Dance: Eva Yerbabuena with:
Lorena Franco, Mercedes de Córdoba, Christian Lozano, Eduardo Guerrera
Music: Paco Jarana, Guitar, Jose Valencia, Singer, Enrique “El extremeño”, Singer
Juan José Amador, Singer, Antonio Coronel, Percussion.

Technical & Staff:
Gabriel Portillo, Costume Design and Making
Fernando Martin, Lighting Design and Lights
Manu Meñaca, Sound
Daniel Estrada, Stage Manager
Maria Molina, Production and Management


Tonight’s Flamenco fans waited some time for the most exciting moments in Eva Yerbabuena’s Lluvia (rain), with its psychological storms. She appeared tonight in a dynamic, driven performance, unique in every way, with five accompanists on vocals (and chanting), palmera (rhythmic clapping), music (guitar, percussion), and dancing (four additional dancers). The Company is quite versatile, with performers switching roles from vocals, to clapping, to background drama. And, drama there was. Sets include a table that morphs for surreal interaction, a stage street, and a large, high door, quite evocative of tango shows produced in recent years. But this is more of a multimedia event, with projections, long periods of dance despair, and mystery of the source of angst, although one can guess and make assumptions, based on the vocal chanting. The audience, mostly Spanish speaking, was especially enthusiastic, as they could at once match word to motion.

Yet, in the final “Llanto”, a soleá, Ms. Yerbabuena changed from internalized stillness to externalized propulsion. Her lengthy black train of a ruffled dress was held at various levels to show her legs, feet striking the floor in vibrating rhythms, undulating in tiny circles, occasional kick-steps to right or left, a tiny ankle swing backward. She obviously saved the most physically challenging choreography for the finale. One of the singers stood stage right with an enormous fringed shawl in deep red, and Ms. Yerbabuena took percussive steps toward him, as she wound herself in its elegance. There was some similarity to Graham’s Spectre-1914, with the expansive, flowing black dress, lined in red, used for enhanced theatricality. Ms. Yerbabuena used the combination of the shawl, which she twirled and raised like a brilliant sunset over her head, as she swirled in rapid footwork dervish. Lorena Franco, Mercedes de Córdoba, Christian Lozano, and Eduardo Guerrera were fine dancers, as well, with angular imagery and proud, Spanish poses, sometimes like a toreador, with macho affect.



Eva Yerbuabuena
Courtesy of Paco Garcia Pacolega


For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net