Noche Flamenca Theater 80.

Noche Flamenca Theater 80 New York, NY May 4-July 31, 2005

Noche Flamenca's new show opened with the singers Manuel Gago and Miguel Picuo crying out with piercing intensity. The guitarists Eugenio Iglesias and Jesus Torres soon joined them, underlining the stark emotions of their songs. And finally, the dancers arrived: Antonio "El Chupete" Rodriguez, Bruno Argenta, and the fiery Soledad Barrio.

His back arched, Rodriquez pounded the floor with a macho ferocity that was countered by Argenta's feline grace; Barrio, who later exploded in a display of unrestrained emotion in the closing solea, raised her arms in soft curves, only the staccato of her feet giving some indication of the fireworks to come. Martin Santangelo, the artistic director and Barrio's husband, clapped his hands along with the finely tuned group. This introduction primed the audience for a special kind of flamenco performance--simple, direct, emotional, and explosive--one that proved such a hit that the company's run was extended from 5 to 13 weeks.

Although Santangelo employs all the age-old techniques used in flamenco concerts to heighten the drama, he also proves how sophisticated staging and choreography can further intensify the experience. He designed the evening so that the solos and duets were perfectly balanced and had beautifully orchestrated lighting. The dancers and musicians emerged and disappeared into darkness, their identities all the more intriguing for the mystery created by the lighting designers, Mark London and Adam Gabel.

Everyone familiar with Noche Flamenca always waits for Barrio's solea (solo). Over the years, she has grown more nuanced in her embodiment of sorrow, frustration, and lust. She moves like a tiger, every inch of her body taut with tension--you can almost hear it scream. Yet she never loses the proud thrust of her torso or the refinement of her hand gestures. She is a gift to flamenco and the troupe a testament to the art's undying relevance. See www.nocheflamenca.com.