In its Chicago premiere engagement this weekend at the Auditorium Theatre, the National Ballet of Spain is flaunting the fiery passion and the flamenco technique that stamp it as a unique dance company.
The program’s first half consists of three relatively short pieces that make full, folkloric use of the castanet-clicking and heel-stomping popularly associated with Spanish dance.
Alberto Lorca and music (taped and overly amplified) by Jose Nieto, serves as a sleek introductory piece to the troupe, letting the women flounce their skirts and the men glory in their arched-backed poses.
“Zapateado,” which immediately follows, is a showcase for the staccato rhythms of virtuoso soloist Oscar Jimenez, with choreography by Felipe Sanchez and music by Pablo Sarsate.
The big, exciting production number, however, is “Grito” (Shout) choreographed by Antonio Canales. It is sensationally performed, with traditional gypsy guitars, percussionist and hand-clapping vocalists seated in a straight line in the rear while the dancers — in ensemble, a blazing male trio, a sizzling duet and an eloquent turn by soloist Lola Greco — swirl, stomp and strike all the proud, dramatic poses of flamenco.
The company, formed in 1978 and now directed by Aida Gomez, unfurls its bravura dance drama after intermission with “Medea,” a hybrid of Greek tragedy, Japanese kabuki and Spanish flamenco.
It’s a combination that works, the fiery flamenco rites and macho tradition making a neat fit for the ancient tragedy of a woman cast aside, brutalized and betrayed by a male-dominated society.
Maribel Gallardo, twisting and turning in a demonic frenzy of lust and rage, was Thursday night’s black-robed Medea; Francisco Velasco was her faithless, white-suited Jason; Currillo was her cruel tormentor, Creon.
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“Ritmos,” with choreography by National Ballet of Spain
When: Through Sunday
Where: Auditorium Theatre, 50 E. Congress Pkwy.
Phone: 888-325-1170
