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Sin Título
Olga Pericet’s Company featuring Jesús Fernández
International Dance Festival Birmingham
The Patrick Centre
Birmingham Hippodrome
**** There is something truly romantic about the
opening moments of a Flemenco dance. The sounds of classical guitars instantly signals
a connection to Spain or some other hot country. Add the dissonant Latin strains of two male
vocals, and frame them all under pools of light on a black stage, and
the scene is set for the entrance Olga Pericet. Snaking her way onto stage dressed in her tight
black Matador-style suit and white bolero, the only colour present now
is her ruby lipstick. She stands proudly under an overhead light shade
and so now, with all the players in position in their sharp black suits
and white shirts, we are ready to begin. For her diminuitive size Olga Pericet certainly
fills the stage with her power and energy. After the opening musical
piece she is accompanied by just the a capella vocals of Manuel Gago and
Miguel Lavis in the song Granaina. Using foot stamps and syncopated hand clapping
while Olga adds the delicate precision of invisible castanets, they all
create a complex hypnotic rythmn for her to dance. As the performance continues you feel a sense of
sexuality as sometimes she is encouraged to dance for what appears to be
the four men, and then at other times it is Olga who seems to be in
control, approaching each of them and teasing with her poses, enticing
them to her. There are actually not four men but three as one
of the guitarists is Ms Antonia Jimenez, the other Pino Losada. What makes the evening easily bearable is the
relief from the intensity of the singing and dance with several solo
guitar performances. Antonia’s playing is subtle and complex and for
much of the time she is lost in her performance, oblivious it seems to
the audience. Losada’s pieces are technically amazing. His Flemenco
style permeates his playing with strength and aggression even during the
speedy arpeggios he creates. The solo sections added real value to the
evening and segued perfectly into another dance that created a cohesive
flow to the 10 scenes of the performance.
Supporting in the dance arena is guest artist
Jesus Fernandez. Beginning often with a series of proud physical
gestures he then enters into some blisteringly quick foot work. Joined
then by Olga the six players enter what was probably the most fluid
section of the performance when everyone seemed lost in the energy of
the music and dance. This is in contrast to some of Olgas more
theatrical sections, which are devised more for audience reaction. One
section she appears in a red, multi-layered dress and use it create doll
like or coquettish characters as she dances. It is, however, the moments
when the ensemble is in full flow, with a more casual and gypsy-like
attitude, and when everything seems improvised that are the most
memorable. The precision of the dance, competent guitar
playing, pounding rhythms and almost chant like male vocals are quite
mesmerizing when they reach full fever pitch. It seems chaotic but when
everything is suddenly punctuated with coordinated rhythmical pauses and
breaks you know ever one is in the zone and that it is a well-rehearsed
and performed experience. Unlike other forms of dance, Flemenco has an
obvious lineage to some far of distant geographical place and time. Olga
Pericet Company certainly create
an experience that takes you to back to there, to some imagined place of
passion and heat, as that’s exactly what you feel is emanating from the
stage and from within her performance. To 18-05-16 Jeff Grant 17-05-16
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