Andrés Marín. “Más allá del tiempo” Tomatito Villamarta Theater Jerez de la Frontera. Tuesday, March 9th, 2004. 9:00pm

“Más allá del tiempo”. Dance: Andrés Marín, Mercedes Ruiz, Leonor Leal. Cante: David Lagos, Londron, Encarna Anillo. Guitar: Canito, Juan Requena. Bass: Juanmi Guzmán. Acordeón: Rafael Álvarez. Clarinet: Javier Trigos. Percussion: Javier Requena. Second part. Guitar: Tomatito. Dance: Joselito Fernández. Cante: Potito. Violin: Bernardo Parrilla. Bass and mandola: Diego Amador. Percussion: El Bandolero.

At seven o’clock on the twelfth day of the Festival de Jerez we made our way to the Sala de la Compañía to see the ballet of Mami and Hiro present ‘Sonekazi’. The inclusion of this adaptation of a classic Japanese story reflects the festival organizers’ goal to internationalize the offering. It worked well as theater, and even better as dance, if not as flamenco.

At the Villamarta there was a split program beginning with the company of Andrés Marín. They’d already warned me about the futurist tendencies of this young man, so I “knew” I wasn’t going to like it. But when flamenco comes aknockin’, trying to deny its presence is as futile as calling “flamenco” that which is not. The unmistakable smell, the indescribable flavor, quality cante and guitar, the compás that glues it all together and draws us in – Marín’s dancing is the fresh face of flamenco that others have sought without success.

No-nonsense dance, and an absolute respect for the audience

The elegant composure that just barely conceals his extreme intensity marvels and fascinates. The dancer exhibits surprising control and technical domain, always strictly at the service of his cerebral and very personal vision of flamenco. The history of male flamenco dance distilled to a series of instantly recognizable movements the dancer elevates to another plane making them seem new. He has been criticized for lack of spontaneity and for being overly choreographed, but that’s the fashion these days and this man revels in doing it well. His no-nonsense dancing becomes a surrealistic statement in the line of Israel Galván, but more accessible.

We are not punished with a plot, classic flamenco singing is used as an embellishment and incongruous elements are incorporated with almost impeccable taste...”almost”, because the jury is still out on the accordion.

For those who couldn’t quite assimilate the somewhat robotic aesthetic of Andrés Marín, Mercedes Ruiz contributed a sensual curvilinear touch that contrasted with Marín’s geometric forms. She appeared in blazing red, the first splash of color, and her arm movement was enough to seduce the entire audience.

The show is enhanced by elegant and original sets, a lack of superficiality and an absolute respect for the audience, something for which we are profoundly grateful in this superficial age.

The fresh face of flamenco that
others have sought without success

After intermission, the anticipation to see and hear Tomatito was palpable. He is heir to the university (the word “school” falls short) of Paco de Lucía with whom he played since adolescence, and enjoys that same kind of international fame, independently of flamenco.

He offered a program that practically traced his entire career, from a splendid traditional solo of alegrías without backup of any kind, moving on to taranta, a form always enriched by his Levantine roots, and a series of less identifiable arrangements until finally getting to the classic jam session with sextet including lengthy percussion solos that were effusively applauded by some, received with indifference by others in this diverse audience.

The recital was decorated with familiar faces such as those of singer Potito, dancer Joselito Fernández and the multi-talented Diego Amador.

Text : Estela Zatania

Theater Villamarta Program
De Peña en Peña Program: Trasnoches, De Peñas, Peña de Guardia
Other shows(Gloria Pura, Bordón y cuenta nueva, De la Frontera, Café Cantante, Sólos en Compañía)
Courses and workshops

All Reviews