This year’s Flamenco Festival closed with a gala, and if not exactly disappointing, parts of the 90-minute show underwhelmed.
For a start, gala is a bit of an overstatement for this short-ish recital, which featured four up-and-coming dancers rather than the umpteen stars you associate with galas. It’s good to see these younger performers but they looked at the end of their run and keen to be back home.
There was also some so-so costumes and come-as-you-are make-up. Rocío Molina is a fascinating dancer re-imagining flamenco’s old forms but in her leggings and baggy jumper she looked like a refugee from a Flashdance audition. Maquillage matters in the theatre, and especially in flamenco. Still, it’s impossible not to admire Molina, whose plush body and mix of moves — the smaller, softer pony kicks and pear-picking hand gestures — are an alluring combination.
Alluring in a different way was Belén López, a more traditional-looking dancer with shot-gun fast footwork and attitude to match. Her white trouser ensemble evoked the pulled-up hauteur of bullfighters, while her sharp kicks reminded you of their victims’ horns.
Less appealing was Manuel Liñán, an over-controlled, over-groomed dancer who was more Fred Astaire than gipsy passion.
Pastora Galvin was less impressive than her publicity suggests, although the singer Rosario Guerrero was a revelation. Despite a plain-Jane appearance, her pitch and delivery combined flamenco’s old heart with a cleaner, more modern sound.
She was also mercifully without the overwrought looks flamenco singers often deploy.
Gala Flamenco
Sadler's Wells
