Pilar Rioja, who has been performing her solo program of Spanish and flamenco dance worldwide, returned to Repertorio Español at the Gramercy Arts Theatre for her 29th season there (April 2-20) in a program that included new dances as well as popular solos seen previously. New this season: "Fuerza Como La Del Deseo," which is based on the play Yerma by Federico GarcÃa Lorca, and "Habanera."
Beginning the program, Señorita Rioja's entrance in a luxurious black and silver gown was sufficient in itself to compel attention. The best was soon to come in her "Danza VI," choreographed by Manuel Monpou. This turned out to be a cavalcade of stylized Spanish dance idioms displaying braceo (arm movements), zapateado (footwork), and the utilization of castanets. These, however, were far from being a mere technical display. As indicated in the notes, "many of these movements have entered the vocabulary of classical ballet." In those movements where she poses in deep back bend in a magnificent arch, she indicates how, in slower movements, Spanish dance can appear sculptural, as well as prideful and ecstatic.
Traditional flamenco "AlegrÃas," accompanied by cantaores (singers) Alfonso Cid and David Castellano, was a delightful contrast to the opening, for the dancer is encouraged in this form to really "let 'er rip."
Rioja flows through flamenco with quicksilver movements of serpentine arms and zapateado of flaming intensity. But then, she can make the mere flickering of a finger incisive.
"Tres Danzas" is considered stylized Spanish and, indeed, it would seem so in its beginning stages. When the dancer is seen seated with head lowered, knees spread far apart, and the body completely covered in a purple gown, we are immediately struck with reflections of Martha Graham—specifically, Graham's solo "Lamentation."
Although Rioja has studied quite an array of forms, including contemporary and ballet, "Tres Danzas" turned out to be pure Pilar Rioja. Seen steeped in sadness at the onset, she soon rises and indicates the hopeful person who flares out as a woman who will not be defeated, but fights her way out of the depths of despair. A dance of optimism concludes the resplendent trio.
Those of us who have seen Rioja perform magical moments with a fan shouldn't be in the least bit surprised at the spell she creates by manipulating a light chiffon scarf while performing her "Habanera," a classic Spanish dance that takes in Iberian with New World influences. Observing the skill with which Rioja manipulates the scarf during her dance is sufficient to send spirits soaring higher than the floating object.
The one narrative ballet on the program, "Fuerza Como La Del Deseo" is based on Lorca's play Yerma, relating the story in flamenco idiom. The intensely dramatic plot tells of Yerma, a barren woman who wishes to fulfill her destiny as mother and escape the captive state in which her husband makes her live.
That Pilar Rioja has shown an affinity for the playwright-poet was illustrated in her conception of his poem "The Gypsy Nun." The dancer's conception of Yerma is equally powerful.
"Jaleo: BulerÃas y Rumba Flamenca" has concluded many a Rioja presentation. Consisting of stylized flamenco with its varied conceptions of Iberian and Afro-Cuban rumbas of the Caribbean, the dancer's hip-swinging surge never fails to drive an audience wild, demanding an encore. No doubt a riot would occur if Rioja ever failed to conclude one of her programs by leaving out the popular favorite.
Stoner Premieres
Dancer-choreographer Jeanette Stoner, known for her works that combine movement, theatre, and the spoken word, will present her Jeanette Stoner & Dancers in premieres and repertory April 24-27.
Repeating from last year is "Surface and Subside," a company work divided into solos, duets, and trios, and set to Inuit Eskimo Voice Games as music. Premiere titles were not available at press time, but you certainly can attend in a spirit of adventure.
Venue: 83 Leonard St., NYC. Performances: Thurs.-Sun., April 24-27, at 8 pm. Tickets: $12, reservations available by calling 1-212-226-1576.
Rare Tudor Works
New York Theatre Ballet will offer the public a rare opportunity to see seldom-performed works by the legendary Antony Tudor. The great Tudor interpreter Sallie Wilson will reconstruct "Les Mains Gauches," "Judgment of Paris," and "Jardin aux Lilas," all created by Tudor between 1936 and 1953. The ballets will be performed with a small chamber orchestra.
During her extensive career with American Ballet Theatre, Wilson was celebrated for her performances in the ballets of Antony Tudor. Since retiring from the stage, she divides her time between teaching, choreographing, and staging Tudor ballets for companies around the world. She teaches company class and coaches the repertory for New York Theatre Ballet. Ms. Wilson will be part of a post-performance panel discussion of Tudor's work at each of the four performances.
Venue: Florence Gould Hall, 55 East 59th St., NYC. Performances: Thurs.-Sat., May 1 and 2 at 7:30 pm, May 3 at 2 and 7:30 pm. Tickets: $25 for adults, $20 for children under 12, discounted tickets available for groups of 10 or more, available by calling Florence Gould Hall at 1-212-355-6160, or Ticketmaster at 1-212-307-4100.
'E-Moves' Expands
Aaron Davis Hall, Harlem's principal center for the performing arts, will be the scene of "E-Moves," the series now in its fourth year, with a special expanded engagement from April 25-May 4. "E-Moves" showcases choreographers of color who represent the broad spectrum of contemporary dance idioms. This undertaking provides a nurturing and supportive environment for choreographers at various levels of development—from emerging artists presenting their first works to established leaders in the field.
Venue: Aaron Davis Hall (on the campus of City College), Convent Avenue between West 133rd and 135th streets, NYC. Performances: April 25-May 4, Fridays at 8 pm, Saturdays at 2 and 8 pm, Sundays at 3 and 7 pm (no Sunday evening performance on May 4). Tickets: $15 individually, $30 for a series package (matinees only), available by calling 1-212-650-7100.
Promotions at ABT
Xiomara Reyes has been promoted to principal dancer with American Ballet Theatre, and Erica Cornejo has been promoted to soloist. Both promotions become effective for the 2003 Metropolitan Opera House season, May 6-June 28.
Xiomara Reyes was born in Cuba and studied at Cuba's National Ballet School. She was a soloist with La Joven Guardia, the second company of Cuba's National Ballet. In 1994, she joined the Royal Ballet of Flanders in Belgium, rising to the rank of first soloist.
Erica Cornejo was born in Argentina and began her ballet training at the age of nine. In 1994, she joined Ballet Argentino, Julio Bocca's company, and was promoted to principal ballerina the following year. She is the sister of ABT soloist Herman Cornejo.