BWW Reviews: Ballet Flamenco Sara Baras Makes Kennedy Center Debut with VOCES, SUITE FLAMENCA

One of the greatest things about the Kennedy Center is its long history of exposing Washington, DC audiences to a healthy selection of international theatre, music, and dance artists. A major facet of this programming is an annual international arts festival, which, this year, is focused on the Iberian Peninsula and, by extension, other countries that have been heavily influenced by Spain and/or Portugal. Following a semester abroad in Seville, Spain, I was quick to dub Spain - and particularly the Andalucía region - as one of the greatest places in the world. Thus, I was particularly excited about this festival and the many opportunities I would have to witness performances that would remind me of what I like so much about Spanish culture. Not surprisingly, several flamenco offerings are included on the performance schedule. Particularly exciting is the Washington, DC premiere of Ballet Flamenco Sara Baras' VOCES, SUITE FLAMENCA.

Ms. Baras' accomplished dancing, creative artistry, and passion for flamenco is known the world over thanks to her numerous international touring engagements. From Paris to New York and beyond, audiences are wowed by her style. Even if you've spent time in the many well-known and lesser-known flamenco bars and tablaos in Andalucía - where the art form has its roots - and appreciate those intimate, but sometimes rough-around-the-edges experiences, there's something to be said about experiencing one of Baras' polished, more theatrical productions in a large venue like the Kennedy Center's Eisenhower Theatre. Comparable to ballets, they feature what you might expect from a flamenco performance - dancers, singers, a few people playing guitar and percussion - along with a storyline or concept, theatrical lighting and sets. In the end, it's a visual and aural treat for long-time flamenco aficionados and those just being introduced to the art form even if it some moments the spectacle of it all might overshadow the dance and music.

VOCES, SUITE FLAMENCA, directed and choreographed by Baras herself, explores a number of flamenco artists that have influenced Baras and probably her contemporaries in a rather structured (yet still creative) way. Early on, we see images of reputed artists like Paco de Lucía (guitarist), Camarón de la Isla (singer), Antonio Gades (dancer/choreographer), Enrique Morente (singer), Moraíto (guitarist), and Carmen Amaya (dancer/singer) displayed on illuminated headstones (set design by Ras Artesanos), which provide inspiration for each of the ten or so pieces that comprise the program. Some selections begin with a voice-over narrative that expounds on the nature of flamenco, and what compels artists to express their souls via the art form and/or to devote their lives to it. This helps reinforce the idea on how her influences remain a shaping factor for flamenco today.

The idea to pay tribute to influential contributors to a certain kind of dance/music style with a performance is decidedly not a unique one. However, I do applaud Baras for executing the idea in such a way that draws attention to these heavyweight figures, while simultaneously showcasing what she uniquely brings to flamenco herself. She is - and will be remembered as - one of those influential figures.

Baras enters the stage quietly and we're immediately transfixed as she makes the slightest of deliberate moves with Oscar Gómez de los Reyes' lighting drawing all attention to her. She dances to Paco de Lucía's well-known "Canción de Amor." Later, she's joined onstage by Keko Baldomero (who also wrote some of the lyrics/music) and Andrés Martínez on guitar; Rubio de Pruna (also contributing lyrics), Miguel Rosendo and Israel Fernández on vocals; Antonio Suárez and Manuel Muñoz "Pájaro" on percussion; and sometimes - a unique and somewhat unexpected asset - an unnamed, but extremely talented saxophonist. The impassioned yet highly controlled and rangy vocals, impeccable guitar playing, and precise yet in-the-moment percussion playing are a necessary and valued complement to the skillful dancing. The unique rhythms fill the Kennedy Center theatre with ease and the value of "in the moment" interaction between the musicians, singers, and dancers in successful flamenco performances is immediately evident. All parts contribute to the greater whole.

Several standout moments emerge in the program, which does - at times - get a bit tedious. Throughout the show, the striking Baras always exhibits her trademark style - fast, controlled, clean and precise turns that she does with a flourish; fast and furious steps; and overall, a certain amount of sheer athleticism mixed with grace. The way that she's at one with the music, feeling it at every moment, also makes her unique. She almost always offers incredible technique mixed with powerful emotion and passion. However, the fact that she is a versatile, complete package is no more apparent than in "Soleá por Bulería," towards the end of the program. Her power, passion, and intensity proved memorable at that point to say the least.

Those that attended the program didn't just have the opportunity to see Ms. Baras dance, although that is reason enough to attend in and of itself. Although I didn't find Guest Artist José Serrano - Ms. Baras' husband - to have the same can't-take-your-eyes-off-of-him kind of technical quality especially while dancing alongside his wife, I truly did appreciate that in his solo number, "Soleá," in particular, he demonstrated a certain level of can't be faked joy at performing that resonated with the audience. One thing that makes live flamenco particularly exciting is when you see all of the artists - no matter whether they're singing, dancing, or playing an instrument - jam like no one is watching. Serrano, in particular, has an easy and appreciable rapport with the others onstage that proved enjoyable to witness.

Baras is also supported by a six-member corps de ballet (three men, three women) at various points in the show. Not surprisingly, she's the focus of many of these numbers. The colorful "Tientos," however, is a highlight-worthy exception because not only does it only feature the ensemble, it is a little different in tone than many of the other numbers. A little lighter, one might say. Throughout the show, no matter the selection, the strong ensemble dancers do well to add another visual element to the mix and should be praised for mixing uniformity with personal style, particularly the females. Just as the musicians set the compás with their instruments, the dancers' - as well as singers' - precise hand clapping (palmas) also aid in letting the rhythms guide the movements.

Although there are several opportunities to see flamenco in the Washington, DC area - including regular festivals devoted to the art form - it is a rare treat for Americans to see the magnetic Baras and company perform live.

BALLET FLAMENCO SARA BARAS: VOCES, SUITE FLAMENCA played one performance at the Kennedy Center - 2700 F Street NW in Washington, DC - on March 9, 2015 as part of the Iberian Suite Festival. For more information on the festival, see the festival page on the Kennedy Center website.

Photo: Courtesy of Kennedy Center website.

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