JAVIER LATORRE COMPANY. 'RINCONETE Y CORTADILLO'
The theatrical 'ole'
Candela Olivo. Córdoba, July 10th, 2002
Choreographer and director: Javier Latorre.
Dance: Daniel Navarro, Nacho Blanco, Rosario Toledo, Pol Vaquero, María
del Mar Martínez, Fernando Galán, Adela Campallo, Rafael del Pino,
Laure Granados, Álvaro Paños, Clhoe Dauphil. Cante: Manuel Maya
El Chicho, Antonio Campos, Enrique el Extremeño. Guitars: Daniel Méndez,
Ricardo Rivera. Percussion: Antonio Montiel, Sabrina. Chorus: Sabrina, Anabel
Rivera. Music: Juan Carlos Romero, Mauricio Sotelo. Lyrics: José Luis Ortiz
Nuevo. Staging: Pepe Quero. Gran Teatro. Córdoba, July 10th, 2002. 10:00
p.m.
Photo: Daniel Muñoz
The conceit of giving form to a new artistic
label provokes skepticism, to say the least. The challenge of creating "the
first flamenco comedy in history" sounds like some kind of joke. It's easy
to think that flamenco is already intrinsically humorous, that Pericón
de Cádiz used to get people laughing, and Chano Lobato every time he opens
his mouth, and Emilio el Moro parodied Pepe Pinto and even María
Pagés spends a good part of 'Flamenco Republic' making light. So what's
so new? Apparently, the peeling away of overwrought dramatic elements, the application
of a comic story line and, by means of music, dance and acting, the exploiting
of the most universal of human resources...and managing to pull it off. That's
all. And that's exactly what Javier Latorre's company achieves with 'Rinconete
y Cortadillo', "a version of Miguel de Cervantes' novel for flamenco dance".
The show is humorous, judging from the
audience's laughter. And it's done with traditional gags from comic cinema, the
ungainly falls, the punch in the face; also with a clever parody of the tics associated
with flamenco dancing; and with an irreverent brand of humor, and slapstick. But
it doesn't only make people laugh. The show offers high quality dancing distributed
over a complete repertoire of styles which, among others, includes tanguillos,
bulerías, alegrías de Córdoba, guajiras, sevillanas and tonás.
And on top of everything, the choreographic knowledge shines through in the entrances,
the exits, the groupings, the interaction, the dispersing, the monologues of the
work's characters. Most noteworthy without a doubt, the lead players/dancers:
Rinconete and Cortadillo: Daniel Navarro and Nacho Blanco...for their dancing,
interpretation and lightheartedness.
Photo: Daniel Muñoz
Add to this, besides the impeccable lighting
and staging, a first-class musical wrapping created specially for the show by
the contemporary composer Mauricio Sotelo - who continues to embrace flamenco
more and more - and guitarist-composer Juan Carlos Romero. The former's compositions,
flecked with baroque, classical and contemporary allusions, are delivered, logically,
as prerecorded music, while the latter's are performed live by two guitarists
who are part of the cast, and three percussionists and chorus singers in the pit.
The singing is noteworthy, not just because of its precise execution, but also
for the expansiveness with which it is carried out in the respective roles. Special
mention for the clergyman and his chaise on wheels, and for Monipodio, in other
words, El Extremeño.
And all this adds up to Javier Latorre
having achieved with this first work of the company he directs and which was founded
with the idea of becoming an institution of flamenco dance, a well-rounded creation,
universally intelligible, original, with an attention to detail and, as it happens,
rollickingly funny. After the debut in Granada and the second debut in Córdoba,
it will again "debut" in Seville's Bienal de Flamenco.
revista@flamenco-world.com
