There is something to going to a performance completely blind, with no preconceived notions or expectations. Such was the case when I reviewed New York City Center’s opening night program at its Flamenco Festival. I knew nothing about the dancers and just the basics about flamenco.
The dancers were Alfonso Losa and Patricia Guerrero, and the program was titled Alter Ego. It was a classic flamenco set-up with two dancers, two singers and one guitarist. I had no idea what to expect, but ended up absolutely exhilarated and mesmerized by the dancing and music.
The show started on a dark stage, and Losa and Guerrero were at opposite ends. The musicians sat in the center in black-rung chairs. Losa and Guerrero danced at separate times. A solo for him, a solo for her, and on and on. There was an element of competition to their solos. Losa was authoritative, fierce, full of “duende.” Guerrero was more subtle, more content to work in the shadows, while Losa grabbed the spotlight. But when she started with her flurry of lightning fast footwork, one realized they were equals.
Of course, eventually Losa and Guerrero danced together. And when they did, it was electric. There are the partnerships where one dancer complements another. Astaire and Rogers were like that. As Katharine Hepburn said, “She gave him sex, he gave her class”. And then there are the partnerships where iron sharpens iron. Losa and Guerrero were that kind of partnership. They spurred each other to greater feats of dancing.
Lighting colors served as scene changes. At one point, all the musicians exited the stage and the only “music” was the furious tapping of Losa and Guerrero’s shoes. The middle portion of the program was the most stripped down, as without the music, it was purely on the dancers to create the rhythm and pulse. The musicians returned for the final portion of the program.
There is a gender swap: Guerrero changed her skirt for pants and wore Losa’s jacket. There was a wardrobe malfunction in which her stockings seemed to get trapped in her pants, and she was furiously un-tugging the strands between dancing. When she finally freed her pants, the audience roared. The program ended with a flurry of happy dancing from the two of them.
The music was a great part of the evening’s success. Sandra Carrasco and Ismael “El Bola” were the vocals, José Manuel Martinez (“El Peli”) the guitar. The melodies ranged from sweet and ingratiating to frenzied and impassioned. They drew you into their world.
Part of the joy of being a dance critic is new experiences. As wonderful as it is to review works you’ve seen many times and where you can compare past performances with present ones, it’s even more wonderful to be introduced to a new company, a new work, new dancers. Next year, I’ll definitely be there when City Center does their Flamenco Festival.
As much as I roll my eyes when critics overuse the words “life-affirming”, this was exactly what Alter Ego was.
