PUBLISHED MARCH 12, 2004

MARCH 2004 articles New Standard | Sevilla | Eva

jaleolé.com interviews Ulrika Frank and Jerry Fields about Frank's new flamenco production, Flamenco Con Gusto.

Atlanta's favorite Swedish flamenco dancer, Ulrika Frank, raises the bar this week for flamenco in Atlanta. She's producing Flamenco Con Gusto, a theatrical flamenco performance in which Frank will dance to the music and singing of a special group of artists hand picked by Frank.

Most of the artists have never before performed in Atlanta. They are Seville-born flamenco singer Alfonso Sid, who now lives in New York, San Antonio flamenco singer Chayíto Champión, flamenco guitarist Arturo Martínez of Chicago, and Atlanta percussionist Jerry Fields.

Producing a show with a cast that is spread across the country brings many challenges. Frank and Fields took a break from rehearsing last week to give some perspective on what drives them to face these challenges and why the show will work.

JALEOLE: Percussionist Jerry Fields is the only Atlanta-based artist who you're working with in Flamenco Con Gusto. Why did you look outside of Atlanta for the rest of the cast?

FRANK: I want to take my personal development to the next level. The only way to do that is by working with new people. I could always work with the same people locally, and reach perfection, but then I cannot grow. Also, I wanted the best in the country that I can get, and these artists are frequently hired by other artists throughout the United States.

JALEOLE: We know you and Jerry began working together a couple of years ago. How long have you known Chayíto Champión, Arturo Martínez and Alfonso?

FRANK: I met Arturo and Alfonso for the first time during the New York flamenco festival in January of this year. We rehearsed there for the first time together and said, 'Okay, this can work.' I've never met Chayíto before. I've only seen her in video.

JALEOLE: Which do you feel -more nervous or more excited- about working with this group of artists?

FIELDS: This is my first time to play with cats who do this all the time... There is pressure. But, once we meet in person and get through the first song, it will be okay. Just working with them will be rewarding.

JALEOLE: How do you prepare for such a show, with only two of the five cast members in town?

FIELDS: We've been practicing for weeks, just the two of us, singing the songs, getting ready for the rest of the group to join us.

FRANK: If I have someone who knows all my steps -that helps tremendously. I need at least one person who knows what I'm doing, and Jerry does. He can be the guide for the group, by playing cajón.

JALEOLE: You only have three, four days maximum, for the whole group to rehearse the entire show together. Are there any secrets to getting a performance ready in that little time?

FRANK: Common knowledge makes it easier. You only need to know how to lead or follow - and improvise around it. The artists also need experience accompanying dancers. Also, trust is a big factor. I trust Jerry to be there (to keep the rhythm) and he trusts me to be there. It's not only about communication (when performing), but also about confidence in the other person (reacting to you).

JALEOLE: Atlanta is filled with great things to do on Friday and Saturday night. Why should someone choose to go to see Flamenco Con Gusto?

FIELDS: Because the world is in need of passion. People come together because of love. Love brings us to pour our hearts out, and that's what life is about. And, we're going to tear it up.

JALEOLE: Of all the flamenco to see in Atlanta this year, why is this the show to attend?

FRANK: To see something new. These artists are going to do it on a different level. I'm doing this to give flamenco a new challenge. It's not about me, Jerry, Arturo, Alfonso or Chayíto. We are so unimportant in this. What is important is flamenco itself.

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jaleolé.com readers recommend flamenco haunts for Atlantans seeking the art in Sevilla.

Sevilla is Andalucia's largest city, oozing flamenco, cosmopolitan glamour, and centuries old majesty. Some of the best flamenco singers, musicians and dancers perform and teach in Sevilla. The art is at your fingertips in the city, with shows and classes happening daily across the city. You only have to hold out your hand to become part of it.

It's no wonder why many Atlantans are buzzing with plans to travel to Sevilla - and questions about flamenco in the city. To help guide the way, jaleolé readers and editors share their favorite flamenco haunts in Sevilla.

Theaters - Feature large stages, sophisticated lighting and sound, stadium seating and often, elaborate scenery, depending on the production.

Teatro Central - Local artists, as well as those from other Spanish cities perform in a well planned theater. There is not a bad seat in the house.
In Sevilla: Calle José de gálvez s/n, Tel: +34 955 93 72 00

Teatro El Monte - Features flamenco shows every Thursday night. Some of Spain's best flamenco artists take the stage at this modern theater, so get tickets in advance. Shows by even the biggest of starts can cost as little as 10 Euros.
In Sevilla: c/ Laraña 4, TeL: +34 95 450 82 00
On the Web: www.fundelmonte.es

Tablaos - Nightclubs at which dance is the center point. Alcoholic drinks are served.

Los Gallos - Tablao featuring flamenco shows nightly at 9:30 and 11 p.m. Some top-notch bailadores have performed at Los Gallos in the early stages of their careers. Show prices are approximately 27 Euros and include one drink.
In Sevilla: Plaza de Santa Cruz, 11, Tel: +34 95 421 6981
On the Web: www.tablaolosgallos.com

Casa de la Memoría de Al-Andalus -- Offers authentic flamenco performances on a small stage almost every night of the week.
In Sevilla: C/ Ximénez de Enciso, 28, Tel: +34 95 456 0670
On the Web: Contact memorias@teleline.es for performance information.

Bars - Offer flamenco performances, with a full bar and often tapas.

La Carboneria - This bar features two flamenco shows in the evenings. The large space is filled with picnic tables that fill up nightly with tourists of all ages, but mostly young people. Their talking, combined with the acoustics of the room can make it difficult to hear the singers and musicians at times. Arrive early and sit close to the stage if you want to really enjoy the show.
In Sevilla: C/ Levíes, 18

Other bars featuring flamenco entertainment:
Lo Nuestro, C/ Betis, 31-A
Mú Daquí , C/ Betis, 56
Rejoneo, C/ Betis, 31-B

Flamenco dance schools - Generally, there is no need to register prior to your trip. Be sure to check the class difficulty to make sure it fits your level. An intermediate class in Sevilla is likely to be much more difficult than an intermediate class in Atlanta.

Juana Amaya. C/ Juan del Castillo 12, Tel: +34 95 421 7695.

Academia Manuel Betanzo - This is formerly the Academy of Manolo Marin. He passed the school to Betanzo last year.
In Sevilla: C/ Rodrigo de Triana 30-32, Tel: +34 95 434 0519.

Academia de Baile Flamenco Antonio el Farruco - This is run by the family of famous dancers Farruco and Farruquito. In Sevilla: C/ Salteras 1, Tel: +34 95 466 0998.

More Information

Music Schools - www.worldmusiccentral.org

Bus, train, airport information - www.aboutsevilla.com

History of Sevilla - www.aboutsevilla.com

Flamenco stores - www.tallerflamenco.com

Erica Schantzek contributed to this article.

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Eva la Yerbabuena's March 3 show in Portland was packed with power, individualism and icing.
by Martha SidAhmed

On a grandparenting mission in Portland this week, last night we took Our daughter and son-in-law to Eva la Yerbabuena's performance at the Beautiful old Arlene Schnitzer Hall ("the Schnitz"). Her company is doing a West Coast tour of 10 cities. Wide and deeply proportioned like the Fox in Atlanta, the large theater was packed with a sold out audience.

The show, "Eva", was the same one she performed in Albuquerque a few years ago, but with a few alterations. Her trio of excellent singers included, as before, Enrique Soto and Segundo Falcon with Pepe de Pura replacing Arcangel. Her dancers, all from Sevilla, were three women and two men and although her imprint was obvious through the choreography, influences from their prior dance experiences could be detected. Sara Vasquez's jumps with double toe landings in her bulerías flashed images of her former mentor, Juana Amaya. Israel Galvan was channeled in the deep kneed weighty plantas of Ruben Olmo. This was not a company of Eva clones and they were fun to watch for their individualism as well as their sharp precision.

The program opened with the now familiar tableau of Eva moving from a Chair next to an old victrola as she summoned up all the great women dancers of the last century. Next, the three singers appeared, each contributing a letra of the ancient tonas isolated in their own spots on the stage. A sophisticated company bulerías followed.

And then came Eva's granaina. Traditionally a cante or guitar solo, Eva may be the first to choreograph to this palo that has no compás. Stretched backwards out of a white bata at a startling 45 degree angle (try this at home over a mattress and appreciate her strength), her arms etched out the beginnings of a dance that slowly flows thru her body as she nudged and pushed her bata around the floor. Relief finally arrives in the solid compás of a rondeña.

An "oh my gosh!" escaped audibly from me as the company began siguirillas. This was the exact choreography that had been taught by Mercedes Ruiz, formerly of Eva's company, at last summer's Albuquerque festival. Toward the end of this clinical (as opposed to dramatic) interpretation, Eva quietly entered in black and implemented a complex and beautifully segmented dismissal of the dancers from the stage. This was a few moments of thrilling suspense for anyone who has seen her show and knows what is coming next... her great, great, great, great soleá.

Eva's interpretation of soleá, pulling from a heavy tempo of excruciating tension and surging forward through levels into the cathartic powerful three-pulsed bulerías ending, is a masterpiece by which any other soleá will now be measured. There is nothing left unsaid. There is nothing more to say.

From there, it was a fast and happy trip through dessert, a tangos that began as a dialog between percussionist Antonio Coronel and the dancers and then became a showcase for each as they played with this infectious rhythm. Eva rejoined them at the end in powder blue, her sensuous hips so isolated that they should have belonged to the person next to her. Eva exited as the others wrapped it up and then reappeared seconds later in her opening costume, in the chair, next to the victrola. Full cycle. Very, very full cycle.

Her guitarist, as always, was her partner, the virtuosic Paco Jarana, whose gorgeous compositions perfectly frame and ornament every nuance of this long production - 90 minutes with no intermission. The audience was on its feet roaring. I didn't hear one "otra" uttered although a woman behind us was very busy whooping it up. No encores... we in Atlanta know you have to beg and work hard to earn these. But who's complaining? When you have icing on your icing do you still need a cherry?

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