Ambitious and occasionally moving, but uneven and, ultimately, not as satisfying as it could be.Summary
Rating
Good
The story of Mariana Pineda, the 26-year-old Andalusian woman executed by garrote vil in 1831 for possessing a half-embroidered revolutionary flag, is one of political defiance, personal conviction, and tragic sacrifice. In Pineda: Romance popular en tres estampas, Patricia Guerrero brings to life the heroic figure Lorca depicted in his dramatic poem, interpreting the narrative with bold ambition, grounding it in flamenco while reaching toward theatrical innovation.
The opening is evocative: a surge of female voices chanting “Freedom, Law and Equality” floods the stage with energy, as Mariana, clad in green, emerges as a symbol of liberty, though one still cushioned by privilege. Guerrero’s choreography initially brims with freshness and force, blending traditional flamenco with contemporary stylisation, reminiscent of a southern West Side Story.
However, the promise of the beginning slowly unravels. Despite the evident talent of the dancers, the choreography soon becomes repetitive, and its momentum – both emotional and physical –falters. What starts as a fierce declaration of freedom and rebellion flattens into a sequence of gestures that lack the intensity and innovation the subject demands. Guerrero’s Mariana, unlike Lorca’s resilient heroines, never fully reveals the ferocity or conviction of her historical counterpart.
There are moments of brilliance. A standout is the choreography of the guard, whose mechanical, restricted movements starkly contrast with the fluidity of the other dancers. It’s a powerful visual metaphor for repression versus resistance. The final act, too, offers a striking image: dancers cloaked like mournful spirits or Fates, heralding the inevitable end that awaits Mariana. It’s here that the production brushes against the poetic fatalism of Lorca’s text.
Visually, the show has mixed success. The costumes by Pablo Árbol are undeniably beautiful, but the staging, dominated by stark concrete structures, often hinders rather than enhances the dancers. Much of the choreography takes place at the rear of the stage, which diminishes its impact, especially for audience members not seated at the very front. For a piece about revolution and visibility, it seems counterintuitive to keep the action at a distance.
Transitions, particularly costume changes, are clumsy and interrupt the rhythm of the performance. And while the production aspires to channel the collective spirit of a people in revolt, that sense of uprising never fully materialises. The fire of the Andalusian revolution feels strangely muted.
In the end, Pineda is a production filled with ideas and intention, but it struggles to execute them with the clarity and force they deserve. Guerrero’s approach is ambitious and at times inspired, yet this Mariana remains, like the flag that condemned her, unfinished.
Artistic Direction & Choreography: Patricia Guerrero
Musical Direction: Agustín Diassera & Dani de Morón
Lighting Design: Juan Gomez Cornejo
Costume Design: Pablo Árbol
Pineda: Romance popular en tres estampas plays at Sadler’s Wells theatre until Saturday 7 June.
