Spanish dancer Pilar Rioja has been a constant summer feature at Repertorio Español, always performing a program of solo dances with familiar origins. Rioja, however, can be depended upon to introduce her own vital sparks that actually leave the conviction that we are witnessing flamenco and Spanish classical dance for the first time. No matter how many times you may have seen her perform some familiar solos, there are always new additions introduced. She is never one to rest on her laurels.
In the program that she played from July 26 to Sept. 1 at the Gramercy Arts Theatre, the proceedings opened with "Solea," a dance of deep sadness. Rioja was seen seated at the side of the musicians and singers listening intently to them. When she rose and came to center stage, though her dance may have depicted loneliness, she still managed to maintain a prideful and defiant attitude, which clearly evinced that although going through an unhappy stage in her life, she would never be defeated.
"Follias," on the other hand, was sweetly spirited, maintaining a delicate classical aura, particularly due to her costume of white and gold with a wide skirt—or tutu—reminiscent of those worn by classical ballerinas. And if there wasn't that much ballet discernible, the elegant bearing and braceo (arm movements), and the light, pivoting tours were clearly perceived.
There was a sort of postscript when she appeared in a red dress in a teasing, mischievous mood that couldn't help being a source of delight as she concluded by leaning over to click her castanets, one time only, at the guitarist accompanying her. The dancer displayed a delectable sense of humor in that simple gesture. Sometimes less is more.
The form known as folia may have originated as a street dance, but it seems obvious that it went through numerous phases with the aid of Italian and French ballet masters who came to Spain in the 17th and 18th centuries.
Zapateado is a stylized Andalusian dance form that consists of intricate foot rhythms, including stamping, rhythmic heel beats, toe-heel combinations, and any sound combinations that dancers can make with their shoes. Originally performed by men, women eventually took on the virtuoso technical demands. Needless to add, in Rioja's "Zapateado," she displayed breathtaking bravura in her varied rhythmic sounds.
Flamenco dance in the form of "Farruca" featured a succession of rhythms by the dancer and guitarist, and again displayed Rioja in prime configurations. Not only was her zapateado exemplary, her braceo never failed to display spellbinding variations. Her finger manipulations in themselves were of startling originality and potency.
The "Tango" that opened the second half of the program bore no relation to the Argentine tango, but turned out to be a stylized Spanish theatre dance in which Rioja utilized fans extensively. She wove them about to the extent that they could be visualized as two huge butterflies in flight.
The most memorable narrative creation that Rioja has presented through the years is "La Monja Gitana," which is based on a poem by Federico GarcÃa Lorca. The dancer utilized the flamenco idiom to portray a nun who, upon hearing a gypsy song from a distance, recalls her early life. As she recalls her previous passionate nature, she is shocked. Finally subdued, she returns to reality. Here was an intense portrayal of the age-old struggle between religion and sensuality that saw Pilar Rioja at her dramatic best.
The concluding "Tientos-Tangos," once again, bore no resemblance whatsoever to the Argentine tango. It saw the dancer in popular mode, more in the Afro-Cuban vernacular, in which she manipulated her hips and torso and evoked vociferous response, to the extent that she was compelled to conclude with two encores in a similar vein.
What is most amazing about Pilar Rioja is that she never runs out of energy. In fact, she seems to gain additional strength as she works through to the conclusion.
Repertorio Espanol has always surrounded her with all the best talents, including costumer Guillermo Barclay, lighting and production designer Robert Weber Federico, and a grand group of accompanists: Alfonso Cid (singer-flautist), José Luis Negrete and Antonio Muñoz (flamenco guitarists), Francisco Roldán (classical guitarist), and David Castellano (singer-percussionist).
DTH Preems 'Stabat Mater'
Dance Theatre of Harlem has announced the New York premiere of "Stabat Mater," a new ballet choreographed by Michael Smuin. This will be performed at a free event in historic Battery Park during the Lower Manhattan Cultural Council Fourth Annual Evening of Stars, Music, and Dance Series on Sept. 14 at 4 pm.
The company was originally to have performed for the series on Sept. 14, 2001 at the World Trade Center, so it is fitting that one year to the day, a new performance will take place in another historic downtown location, with a new ballet dedicated to the events of Sept. 11.
"It is with great pride that DTH was chosen to premiere this ballet in New York," said Artistic Director Arthur Mitchell. "It will allow audiences the opportunity to experience the sorrow, passion, and fortitude that we've all been through and the strong American spirit that we will survive."
Stated Smuin, "I've loved Dvorak's 'Stabat Mater' for many years, but never thought of choreographing it until Sept. 11. After all the pictures and television coverage, I was haunted by images, not so much of terror and destruction, but of loss, mourning, and hope."
Michael Smuin is a former principal dancer and choreographer with San Francisco Ballet and American Ballet Theatre who went on to receive the Tony Award for his choreography of the Lincoln Center Theater revival of "Anything Goes" and Tony nominations for his direction and choreography of "Sophisticated Ladies." Smuin's film credits include "The Cotton Club," "Dracula," and "Return of the Jedi," among others.
DTH will perform "Stabat Mater" along with "South African Suite" and "Dougla."
ABT Tours Japan; Jaffe in New Post
American Ballet Theatre will visit Tokyo, Sagamihara, Hamamatsu, Fuchu, and Ohtsu during the company's tour of Japan from Sept. 12-22. This tour will mark ABT's first return to Japan since July 1999.
Portions of ABT's tour have been underwritten by The Freeman Foundation. The foundation's support will enable ABT to provide education and outreach programs while in Japan, as well as scholarships to the company's Summer Intensive Training Program for five Japanese students of outstanding potential, chosen through auditions in several of the tour cities.
You have already heard about the vast changes in management at ABT. What interests us is the newly created position, Advisor to the Chairman and the President of the Board, which will be taken by Susan Jaffe. Jaffe joined ABT in 1980 and retired as a principal dancer in June of this year. Our best wishes go the ex-ballerina in her new endeavor.
SLANT at La MaMa
SLANT, the performance ensemble of Richard Ebihara, Wayland Quintero, and Perry Young, reinvents the notion of ritual with "Wa Zu," a brand new musical, choreographic, and theatrical spectacle about primitive pop culture. The work was inspired—"not at all literally," they tell us—by the trio's travels to the Yunnan Province of China, a region bordering on Laos, Tibet, and Burma, courtesy of a grant from DTW's Suitcase Fund.
Venue: La MaMa E.T.C. (Annex Theater), 74A East Fourth St., NYC. Performances: Sept. 12-29, Thurs.-Sat. at 7:30 pm; Sun. at 2:30 and 7:30 pm. Tickets: call the box office at (212) 475-7710.