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Flamenco Reimagined: Olga Pericet’s punchy, elegant satire on flamenco clichés

By Cristina de Lucas, 05 June 2018
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“Pericet is a first class performer and dancer”
Reviewed at Teatros del Canal: Sala Roja, Madrid on 3 June 2018
Programme
La espina que quiso ser flor o la flor que soñó con ser bailaora (Olga Pericet)
Performers
Carlota Ferrer, Director
Antonia Jiménez, Guitar
Pino Losada, Guitar
More Dance reviews
The powerful presence of a star performer: Olga Pericet in La Leona
Graham Watts, 11th July
Costumes play a big part in the production but is her extraordinarily youthful athleticism and her intimate and absorbing performance that are most memorable.
***11
Un cuerpo infinito: a fascinating exploration of Carmen Amaya’s life
Cristina de Lucas, 26th May
Olga Pericet's choreography grasps the essence of of the exceptional flamenco dancer Carmen Amaya.
****1
Paso a Dos Perfection
Sam Quy, 27th February
Paso a dos is exactly what it claims to be – a perfect Spanish pas de deux or dance for two.
****1
Ambiciosa evocación de la Edad de Plata en el Teatro de la Zarzuela
Aaron Vincent, 28th January
Las sutiles estampas goyescas y el frágil entramado del retablo cargan con el peso de una relectura con aspiraciones oníricas que se torna pesadilla.
***11
Teaċ Daṁsa’s MÁM in Madrid: Michael Keegan-Dolan at his best
Cristina de Lucas, 9th December
An unforgettable evening of contemporary dance with Keegan-Dolan’s Mám in Madrid, with excellent performances from Cormac Begley, s t a r g a z e and Teaċ Daṁsa company.
****1
La Veronal heads Into the Little Hill in Madrid
John Marten Barnard, 15th February
The Teatros del Canal host the Benjamin–Crimp partnership’s thrillingly dark, lyric retelling of Robert Browning’s famous 1842 poem The Pied Piper of Hamelin by La Veronal dance company.
*****
More reviews...
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Carlota FerrerOlga Pericet
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Cristina de Lucas
Cristina de Lucas
After a career in the legal field where she combined her job as an Attorney at Law with collaborative roles in various local and international cultural enterprises, Cristina de Lucas turned to dance research and criticism in 2009, when she moved to London. She obtained her doctorate from the Department of Dance at the University of Roehampton (London). Her fully-funded thesis focused on the confluence between dance and narrative in the repertory of the British choreographer Kenneth MacMillan. Her research has received several awards, such a full Vice-Chancellor scholarship and the 2014 SDHS Graduate Student Travel Grant. She also reviews dance and cinema, contributing regularly to several publications in Spain and UK.