‘Carmen.maquia’ by Ballet Hispánico @ TITAS / DANCE UNBOUND
Photo courtesy of Ballet Hispánico
—Teresa Marrero
Presented at the Moody Performance Hall last weekend, this high-spirited performance of Carmen.maquia by America´s premier Latinx dance organization roused an enthusiastic standing ovation from the Dallas audience.
Ballet Hispánico, whose long history bolsters its claim to be the largest Latinx cultural institution in the U.S., was founded in 1970 by Tina Ramírez. Its current artistic director and CEO is the Cuban-born Eduardo Vilaro.
There was nothing about the company’s Dallas performance that hinted of the clichés that can attach to Hispanic or Latinx dance. This was extremely sophisticated and universal work, the dancers performing on par with some of the best companies brought here by the TITAS / DANCE UNBOUND organization.
The music, of course, was from various works based upon Georges Bizet´s famous opera, performed by the Slovak Philharmonic, the Praha Philharmonic, and the Arte Ensemble. The Carmen Fantasy was by Pablo de Sarasate and performed by the Apollo Symphony Orchestra.
Choreographed by Gustavo Ramírez Sansano, Carmen.maquia premiered in 2014 at the Apollo Theater in New York. The minimalist set design and construction by Luis Crespo echoed Picasso´s Cubism through the construction of various levels of white wall-like structures against a stark black background. The equally minimalist white and black costumes by designer David Delfin added a single red scarf as a pop of color and to signify passion. The costumes complimented the overall clean look of the production. It suggested a structured palate expanded by the free- flowing grace of the skirts.
Interestingly, however, the dancers´ movements through the complex choreography were anything but angular. Instead, the flowing gauzy white skirts of the female corps dancers seemed to flow in an invisible whirl of wind. Their arms extended in graceful extensions as the dancers´ figures seemed to extend for miles. There were also humorous moments and gestures that included derriere slapping, something not usually seen on stage. But it worked!
On a more serious note, the principal dancer, Amanda del Valle, who portrayed the seductive and playful Carmen, stood out in a black equally flowing gown. With her slicked black, shiny hair, del Valle’s Carmen ran us through a full emotional gamut. Her exquisite ballet technique complimented her acting acuity. Really, one could not judge her as a simple seductress. There was a depth to her performance that connected emotionally with Amir J. Baldwin as her tortured paramour, Don José.
The males were also dressed in white, but with an arm to shoulder strap that suggested a military outfit. As the male principal, Baldwin rose to the emotional impact of this tortured push-pull relationship. His physical and emotional strength and matched hers perfectly in the build-up toward Carmen’s crescendo of pathos.
Amanda Ostuni as Micaela and Omar Rivera as Escamillo displayed a similar depth of emotion and technical acuity, as did the entire company of dancers: Fatima Andere, Mia Bermudez, Antonio Cangiano, Fracesca Levita, Dylan Diaz McIntyre, Andrea Mish, Adam Dario Morales, Daniel Pallandino, Isabel Robles, Yadamy Sofia Fernandez, and Oilia Winston.
For a peek at this marvelous piece see https://www.ballethispanico.org/company
WHEN: January 24-25, 2025
WHERE: Moody Performance Hall, Dallas Arts District
WEB: For upcoming events, titas.org
Teresa Marrero is Professor of Spanish at the University of North Texas. She teaches graduate courses in theatre and undergraduate courses in cultures, film, and Spanish for Mass Media.
