The show’s traditional flamenco sequences are its strongest….The show’s more experimental numbers are often awkward.
Trained as a dancer, she’ll shimmy through her songs, stepping back for some traditional flamenco footwork or an easy swagger, playing castanets or snapping a fan open.
Olga Pericet is definitely one to watch writes subscriber Emmanuelle Julien Continue Reading
In theory, there are enough ideas in Guest Suites to furnish many rooms. The problem in performance, however, is that too few are fully delivered.
The evening brought us flamenco at its theatrical best, unadulterated by concerns other than itself. It also brought that most uncompromising of flamenco divas, Cortés.
The complex interplay between the shimmering guitars, clapping hands and weighty grace of Cortés’s arms and torso was spellbinding.
The star displayed little of the emotional depth and stylistic variety seen on previous visits
Cristina Carnero was comely and touching as Laurencia, the ravished bride, but Miguel Angel Rojas let the side down badly as the rapacious Comendador.
In Jonathan Church’s splendid staging, however, with thrillingly inventive choreography by Andrew Wright that though clearly inspired by Gene Kelly’s original routines often takes off in startling and delightful new directions of its own, the show offers almost thr…
the choreography by Andrew Wright is as electric as any I have seen in a stage musical – not least the title song and its finale reprise
Adam Cooper is likeable as Lockwood, with fantastic dance skills. There’s engaging work from Daniel Crossley as pal Cosmo.
Pericet is a diminutive figure with a towering presence, her fierce energy caged within a steely technique. She may fling her arms in a whiplash spin, but they hit the spot with a sting when she stops. This tension, between inner force and impersonal discipline, makes …
American Ballet Theatre's Marcelo Gomes makes a guest apperance in 'The Dream' & Marianela Nunez debuts in 'Song of the Earth' Continue Reading