Dance Review: Carmen—Passionately Beautiful Flamenco

Antonio Gades’ Company worked it out with their critically acclaimed Carmen (1983) which originally premiered in Paris. This dance/theatre fusion combines the best of classical flamenco, props/theatrical staging, and performing musicians with Bizet’s original opera score from 1875. Ultimately, Carmen was a performance of raw life on stage -a tragic heroine, who could very possibly be one of the most complex characters ever written for a woman to portray.

Antonio Gades’ company is red hot with passion for flamenco, and, impossible precision! It is no wonder why he is considered a world-class dancer/choreographer. Gades envisions Carmen as “neither a frivolous woman nor a man-eater. She’s just an honest woman . . .” The opening scene shows the dancers in beautiful ruffled skirts as if rehearsing. They fiercely present the essence of the movement across the floor with their percussive steps better timed than some of the nation’s best tap companies. Moreover, using a more complete body posture, the lady’s arm movements are just mesmerizing as they move through circular positions. This particular movement style can be traced back to classical Indian dance. Thus, being that Flamenco in Spain is attributed to the culture of gypsies, Carmen would be their heroine.

In the second scene, the other women taunt her for freely expressing her sexuality. Not having any of it, Carmen pulls out a knife and gives one girl a buck-fifty (slash to her face)! In the original opera, when asked why she’s so gangsta, she sings “Tra La La La.” What is most striking about Stella Arauzo’s seasoned performance of Carmen is the range of emotions as well as styles of flamenco that she nails. She has no problem dancing a “down and dirty” bar scene then turning around, upright, to dance more romantic sections. Always in character, she sits with legs wide open and skirts pulled up to reveal a little thigh.

The three men in her life: a high ranking officer, her husband, and a Toreador (bullfighter) are each played off each other. Carmen loves ‘em and leaves them to follow her own destiny. She is not owned by any man.

The musician playfully added to this colorful display of humanity by bringing comedy and less traditional games into the mix. For example, the entire audience laughs hysterically as a male musician dons a skirt to do an amazing rendition of Carmen himself.

They say that dance theatre is a dead art form . . . However, no one at City Center would ever believe that statement after watching this amazing re-staging, of such a classic story, sparked to life through Flamenco. Antonio Gades’ Company brought from Andaluza real raw emotion, from the depths of the soul of a woman—Carmen. The encore lasted for twenty minutes. It is amazing to see dancers who refuse to leave the stage! A fitting start to the Flamenco Festival in NYC . . . Get out to see what you can.

iDANZ Critix Corner
Official Dance Review by Sasha Deveaux
Performance: Antonio Gades Company, “Carmen”
Choreographer: Antonio Gades
Venue: City Center, New York City
Date: February 18, 2009
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