FUEGO FLAMENCO
March 30, 2017
In a joint effort, Fuego Flamenco was presented during the 2017 season at the
Thalia Spanish Theatre by producers Angel Gil Orrios, and Adrea del Conte,
founder of Danza España. Taking pride in serving the community as the only bilingual Hispanic
theater in Queens, New York, Mr. Orrios welcomed the familiar audience, introducing the
program in English and Spanish, and sharing news of the theater’s development project with the
assiduous crowd. In tune with this air of familiarity, the evening resembled a Spanish peña event,
where a group of close friends and family gather to share a flamenco evening in an intimate,
rustic stage in a small town in the heart of Andalusia. In this sense, a familiar eclectic ensemble
comprised of local dancers Sol “Argentinita,” Gisele Assi, Ana Maria Delgado and Yloy Ybarra,
was graced by the participation of guest artists: Adrian Galia, internationally acclaimed bailaor;
Curro Cueto, flamenco singer; and flamenco guitarist, Diego Franco.
The program proceeded in a flamenco tablao format, with a brief ensemble opening, and
a couple of festive traditional group vignettes such as Tangos and Sevillanas, interspersed with solos.
The first solo was a lively Alegrías, danced by Sol “La Argentinita” within the flamenco export
polka dot aesthetic, where both, dancer and audience, coaxed each other with Jaleo expressions.
Cajoled by undisputed followers, Mr. Ybarra offered a display of gestures within the Soleá por
Bulería flamenco structure. Last but not least, Adrian Galia appeased the house with his
impeccable flamenco expressive art and rhythmic musicality in his Seguiriyas. Dressed in a refined
Asian design suit in Bengal Tiger tones and lines, the Argentinian-born flamenco dancer paid
homage to the lineage of his Maestros: Antonio Ruiz Soler, José Antonio Ruiz, Luisillo, Rafael
Aguilar, Cristina Hoyos, and Antonio Gades, whose roles he represented as the lead dancer in his
company. The elegance, sobriety, and measured resonance of his zapateado footwork transformed
the theatrical space embellished by his plasticity. Galia’s aesthetic signature is burnished by his
introspective presence and his polychromatic musicality, within the bouquet of flamenco’s
territory.
Fuego Flamenco closed with Fin de Fiesta as the ensemble took turns in a joyful array of
short vignettes leaving the audience back in the hands of Mr. Orrios who encouraged the
audience to engage in further supporting the development of the theater’s renewal projects.
EYE ON THE ARTS, NY -- Gabriela Estrada
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