Pilar Rioja, the only Spanish dancer who can successfully perform a program of solo dances for two or three months in New York City, has returned to Repertorio Espa„ol for her 25th season. The program concentrates mainly on Flamenco forms, with only the opening number, "Variaciones Sobre 'El Vito' " ("Variations on 'The Vito' "), based on Andalusian dance. This form employs castanets and piano accompaniment, while accompaniment for Flamenco consists mainly of a variety of rhythmic hand claps, finger-snapping, and guitar. Only dances from the classical Bolero school were absent, but on this occasion were not missed.
In his short but erudite "Introduc-tion to Spanish Dance," Robert Weber Federico, Repertorio Espa„ol's lighting and production designer, as well as associate artistic producer, spoke on the possible origins of Flamenco. No one knows for certain how zapateado (foot work) originated. Some influences may have come from Celtic clog dance. Many aficionados believe that zapateado came to Spain with the gypsies who emigrated from India. It always tends to remind me of the Kathak dance of northern India, which is concentrated on swiftly stamping foot rhythms.
In "Variaciones," we can immediately sense Rioja's overall artistry--the ease with which head, arms, body, and legs flow into electrifying patterns and total expressiveness.
Two dances from Manuel de Falla's El Amor Brujo were premiered: "Fire Dance" and "Pantomime." The first sees a woman, constantly plagued by the evil phantom of her dead husband, performing a ritual fire dance to exorcise his presence. Rioja's fiery red gown and Federico's brilliant lighting design aided the dramatic intensity of the dance. In the second solo, the dancer's gloriously flowing white gown accented the woman who, finally free of the phantom, has found serenity in a new love.
"Ritmos," created by Rioja and Manolo Vargas, combines Flamenco with Rioja's modern dance training. (She has been trained in every basic form of dance, including ballet and contemporary). In "Ritmos" she is seated and in dark mood, dressed in black and covered by a white veil. When she rises she floats the veil about, giving the appearance of a character from an ancient Greek tragedy. Accompaniments feature the earthy rhythms of several Flamenco forms, including taranto and taranta, so that the Spanish essence is always present.
A world premiere, "Org'a" is set to the music of Joaqu'n Turina's Danzas Fant‡sticas, and utilizes modern Spanish music not actually composed for dancing. We were told that dances in this genre were originally choreographed by some great 20th-century Spanish dancers and choreographers, including La Argentina, La Argentinita, and Antonio Gades. Although memory has faded where these performers are concerned, we can tell you that Pilar Rioja performed "Org'a" exhibiting her own ever-present brand of radiance.
The traditional "Alegrias" is regarded as a joyous dance for women, although it can also be performed by men. Traditional or not, you can always count on Rioja to incise everything with her own brand of artistry--particularly since the dance allows the artist freedom to improvise while complying with familiar cadences.
"La Monja Gitana" ("The Gypsy Nun"), choreographed by Pilar Rioja and Manolo Vargas, is based on a poem by Federico Lorca. The story of a nun who recalls her early life when she hears a gypsy song from a distance, it has become a great favorite with audiences. No one can fail to be moved by the pathos and nostalgia displayed by Senorita Rioja.
"Jaleo: Buler'as Y Rumba Flamenca" saw Rioja at her most sensual. Knowing all of the influences that make up Flamenco, it seemed inevitable that African-Caribbean motives would eventually be wedded to that form--and most effectively, too, where Rioja is concerned.
The stirring accompanists were pianist Martin S…derberg; guitarists Josƒ Luis Negrete, Arturo Mart'nez, and Antonio Mu„oz; and Flamenco singers Enrique Iglesias and Bernardo De Jaƒn. Stunning costumes were designed by Guillermo Barclay.
Pilar Rioja performs through Sept. 7, at Repertorio Espa„ol, Gramercy Arts Theatre, 138 E. 27th St., NYC.
News From Paul Taylor Dance Co.
Lincoln Center Out-of-Doors presents the Paul Taylor Dance Company, Aug. 7 and Aug. 8, at the Damrosch Park Bandshell. The program features three of Taylor's most popular works: "Airs," with music by Handel, first performed in 1978; "Offenbach Overtures," the 1995 French parody, danced to music by Jacques Offenbach; and "Esplanade," with music by J.S. Bach. Considered by many to be Taylor's signature piece, "Esplanade" was first performed in 1975. Scheduled for 8:15 pm, the performances are free and open to the public. The bandshell is located at 62nd Street, between Columbus and Amsterdam avenues.
Paul Taylor has been nominated for his second Emmy Award for Outstanding Choreography, for The Wrecker's Ball, first aired on PBS's Dance in America, in November 1996. Produced by Thirteen/WNET in association with RM Associates, Ball comprises three short Taylor pieces: "Company B," "Funny Papers,", and "A Field of Grass." It will be rebroadcast in the New York City area on Sept. 28.
Also in September, the Paul Taylor Dance Company travels to Moscow to perform at ADF/Russia. Following the trip to Moscow is a six-week West Coast tour to Alaska, Washington, Oregon, California, and Utah. The company will perform next in New York City during its annual two-week season at City Center, March 3-15.
Trinity Irish Dance Makes NYC Debut
The Joyce Theater presents Chicago's Trinity Irish Dance Company in its New York City debut, Aug. 11-16. Described by Founder and Director Mark Howard as featuring "progressive Irish dance" and being a forerunner of recent lavish productions like Riverdance and Lord of the Dance, the company was founded in 1990. It comprises 20 women and Darren Smith, the 1997 World Irish Dancing Champion. A former champion Irish step dancer himself, Howard created Trinity with the hope of expanding and transforming the possibilities of step dancing from a competitive form to an expressive art. Trinity's extensive repertory also draws on other ethnic cultures such as American modern dance and Mexican folklore.
The Joyce program features the world premiere of "The Mollies," choreographed by Mark Howard and Brian Jeffrey, with music by Mike Kirkpatrick. An exploration of manipulation, based on the plight of the Molly McQuire coal miners, the work combines modern and Irish movement and video imaging.
Performances of "The Dawn," choreographed by Howard and Richard Griffin, and Howard's popular "Celtic Thunder" complete the program.
The Joyce is located at 175 Eighth Ave., NYC. Performances: Mon.-Sat., 8 pm; Sat., 2 pm. Tickets: $35, available at the box office. Telephone: (212) 242-0800.
More at Lincoln Center Out-of-Doors
Four emerging choreographers will be seen at Lincoln Center Out-of-Doors. Andrea E. Woods, Tiffany Mills, Ursula Payne, and Christine Bodwitch have created a program of new dances titled "Picture This." Site: Lincoln Center's Fountain Plaza. Performance: Aug. 12, 5:30 pm. Rain date: Aug. 13, 5:30 pm.