Capacity Crowd Applauds Jose Greco Performance
Capacity Crowd Applauds Jose Greco Performance
By Lois B. Gehring
Icy blasts were turned into Mediterrean breezes vibrant with gypsy rhythms and the expressive language of castanets as Jose Greco and his company of Spanish dancers performed before a capacity audience last night at the Michigan Theater.
Greco, former partner to the great Argentinita, uses the Spanish dance for theater purposes with great success. The Spanish male dancer is a true aristocrat of the dance. He combines elegance, virility, power and grace. Greco proved admirably that he is a master of this art.
What appears tempestuous and spontaneous in his dancing in reality covers a well-disciplined technique. Even when still, there is an air of drama around him. This was especially evident in Cana and the Farruca, two Flamenco solos. Greco dominates in his several roles of choreographer and costume designer as well as dancer.
Everyone An Artist
But this is a company where everyone is an artist and with a repertoire which varies from Jotas to Sevillanas. It is difficult to single out a particular dancer or dance for special comment but equally difficult not to do so.
It would be unfair to the graceful Lola de Ronda not to mention her poetic performance of the classic Cordoba or her several numbers with Greco. And- the folklike comedy, La Castellanas, with its contagious melody as danced by Greco, Miss de Ronda and Maria Angeles cannot be easily forgotten.
Petite and peppery Pepita Sevilla and her lithe partner, Ramon Valez, caught the fancy of the audience in the saucy Alegrias de Cadiz and in El Joropo, a piquant number from Venezuela.
Rosario Caro gave new dimensions in ferocity, humor and dynamics to the Spanish gypsy songs and dances, while Maria Merida, by singing seldom-heard Canary Island songs, added still more variety to the program.
In another mood, three slender-hipped male dancers led by Greco danced the dynamic and virile El Cortijo. This dance with its intricate staccato rhythms patterned after the “zapateado,” depicts with vividness the horsemen of the open plains and last night demanded an encore.
Credit To Musicians
Spanish dancing is impossible without Spanish music. In providing this, pianist Roger Machado, guitarist Manuel Garcia and Flamenco singer Manuella de Jerez deserve much credit.
In short the audience applauded approval of each number until, by the finale, it was even participating to the extent of encouraging the dancers with cries of “Ole!” and "Bravo!"
Once again the Civic Ballet has sponsored a smash hit. Ann Arbor should be grateful that dance as an art form has at last taken its rightful place in our community along with the sister arts of music and drama.
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