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An eclectic mix of dance pieces. The emotional depth and vibrant performances of the second half redeem an uneven and disjointed first half.Summary
Rating
Good
Invocación by Rubén Olmo is not a single show but a combination of four distinct pieces, performed by Ballet Nacional de España. ‘Invocación Bolera’ revives the bolera, an 18th-century Spanish dance that blends traditional Andalusian folk with academic styles; ‘Jauleña’ pays homage to the multicultural heritage of Granada, reflecting its Christian, Jewish, and Arabic influences; ‘Eterna Iberia’ comprises five movements, featuring various groups and double steps, and showcases the castanets, Spanish cape, and Cordobes hat, with refined technique and stylised dance; and ‘De lo Flamenco’ honours the talented dancer and choreographer Mario Maya, who founded the Companía Andaluza de Danza (now Ballet Flamenco de Andalucía) in 1994 and developed his own unique style.
The opening of ‘Invocación Bolera’ transports viewers to a 1920s MGM melodrama, with castanets leading the performance and Goyesque costuming enhancing the visual appeal. The show brings the flamenco genre into the golden age of Hollywood, evoking comparisons to West Side Story through its music and choreography. However, the performance is often disjointed, lacking imagination and precision.
‘Jauleña’ begins with stunning lighting techniques by Ginés Caballero and Felipe Ramos that beautifully highlight the dancers’ shapes and movements. Despite this, the selected soloist falls short of conveying the emotion and raw passion that flamenco demands. While technically proficient, her performance feels dull and uninspired.
In ‘Eterna Iberia’, the lighting design by Nicolás Fischtel captures the essence of Degas’ paintings of ballerinas, paired with the music by Manuel Moreno-Buendía reminiscent of Manuel de Falla’s El Amor Brujo. The costumes by Yaiza Pinillos are fitting and gorgeous, yet the first half of the performance misses the true essence of flamenco. It feels predictable and lacks the extraordinary impact needed to captivate the audience. The storyline is weak, and the vignettes fail to leave a lasting impression. Nonetheless, a duet scene using castanets to establish a seductive dialogue showcases the dancers’ talents, Debora Martínez shining with her incredible presence and command of the stage.
The second half is a delight and features some of the best performances of the show, effectively saving an otherwise irregular production. ‘De lo Flamenco’ brings live music that breathes life into the stage and invigorates the performers. The standout female solo ‘Taranto’, beautifully and viscerally performed by Noelia Ruiz, and the dynamic group number ‘Cinco Toreros’ (Five Bullfighters), where seated dancers’ footwork engages in a dialogue with the musicians, exemplify the vibrancy and energy of flamenco. This segment transports the audience to the heart of a ‘Taberna del Puerto’, fully immersing them in the spirit of the dance.
Created by: Rubén Olmo
Music by: Manuel Busto, Manuel Moreno Buendía, Diego Carrasco, Jesús Torres, Moraíto Chico, Los del Río
Lighting Design by: Ginés Caballero (AAI), Felipe Ramos, Nicolás Fischtel
Costume Design by: Juan Andrés Amaya, Pedro Moreno, Rosa García Andújar and Yaiza Pinillos.
Rubén Olmo’s Invocación plays at Sadler Well’s Theatre until 15 June 2024. Further information and bookings can be found here.
