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Romanza -> Paco Pena - A Compas! (Review) (May 2 2006 12:33:43)
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Hi there
I was lucky enough to see Paco Pena at the Peacock Theatre in London on Sunday and thought I'd share the details of what was an astounding performance.
I hadn't heard much Paco save for one album 'Fabulous Flamenco' which I've been loving for its traditional style. I knew even less about the man himself. After the performance, I have a lot of respect for him. It was truly fantastic.
Paco's ensemble consisted of 3 dancers; the striking Maria Franco, stunning Angel Munoz and the 'quirky' Ramon Martinez. On castanets was a pregnant and very beautiful Charo Espino. I need to check the programme to see who the two singers (one male one female), cajon player and guitarists were.
As the lights dimmed, the cantaor walked on stage, tapping out a rhythm with a stick. The cantaora then began to sing to this simple accompaniment. Then, the guitarists – and Paco – began.
This first piece, not for the first time in a flamenco performance, moved me close to tears. I wasn't sure what palos it was, but in the Guardian arts review was described as an 'Alborea'. It was beautiful.
From then on, one piece after another had me in raptures, with changing tempos used to great effect, sometimes culminating in fast, pulsating rythms with what sometimes seemed sometimes like a latin American sound.
But the traditional was really the order if the day. One piece really stood out for me, a stunning Rodena with the dancer Ramon Martinez. It was a joy to listen to. An alegrias also featured, and of course a bulerias to finish.
A simple background to the stage with changing canvases in Spanish colours – yellow, red, black - was all of the backdrop that was needed. The subtle changes in the lighting - often to complement the Maria's dresses - were very effective.
Paco’s guitar, while not exciting me in the way that, for example, PDL’s might, was perfect. Fancy technical displays and hogging of the spotlight don’t seem to be Paco’s style. Rather this was a display of real flamenco, entirely faithful. For much of the performance, save one or two solos, Paco seemed happy to blend into the background, accompanying impeccably. At times he actually looked a bit bored – perhaps his ‘concentration face’, but then he would break into a smile at the antics of one of the dancers or just at a point when everything was ‘coming together’. He seemed so comfortable and pleased with his group.
The dancing, particularly the two males, was entrancing. Once I had recovered from the tightness of the men’s traditional all-in-one style trouser suits, I simply sat back in awe. They were astounding - very powerful and athletic, throwing some fantastic quadruple pirouettes. Angel was positively dripping masculinity and sex appeal whereas Ramon’s moves were more quirky and often comical (over the top hip thrusts followed by suggestive glances at audience) but equally impressive and entertaining. There was great interaction between the cantaora, with her more or less constant jaleos, and the dancers. I love the factual nature of the jaleos. For Maria, it was ‘Maria la guapa’. At one point Ramon refused to dance until she cheered him a bit more, which she responded to with ‘Tu es el torero!’. It really added to the atmosphere, which was unfortunately a bit lacking from the audience. (I don’t think I heard one Ole!).
Charo Espino on castanets was a delight to behold. She had such poise and grace. She had us puzzling over a strange move with her castanets, when she seemed to 'nip' at her arms and legs as though they were little hungry clams! Funny to watch.
There was one strange interlude, in which the entire ensemble staged some sort of factory scene – half of the men stood round a table hammering metal, the others sat at another table while the women sat to the other side of the stage, castanets and palmas poised. I thought perhaps a Minera was coming up, but instead they all proceeded to create a powerful, elemental rhythm of clapping, hammering and banging the table. It sounded great, but I don’t know if it was necessary. I guess it was meant to be a representation of the title ‘A compas – To the rhythm!’.
Anyway, overall it was amazing. I went with 6 friends 5 of whom knew nothing about flamenco. I always think a good sign of how much a person is enjoying a performance is how much fidgeting they do. Lots of fidgeting = bored! Believe me, they all sat as still as statues throughout – transfixed, as I was.
If any of you can make it to London before it closes I'd strongly recommend it. I think tickets are reduced by 50% on lastminute.com
Other reviews
http://enjoyment.independent.co.uk/theatre/reviews/article361137.ece
http://arts.guardian.co.uk/reviews/story/0,,1764115,00.html
Cheers!
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