Spain has a complicated history with dance. Like most European countries, Spain's cultural leaders would rather have a reputation for the finer arts like ballet but came to accept flamenco, considered a vulgar dance form, as a symbol of artistic prowess, once it began to bring in tourists and money—then it became part of the national identity. Compañía Nacional de Danza opened its Chicago performance far away from flamenco. Passengers Within is choreographed by artistic director Joaquin de Luz and danced to "Mishima, Etude, No. 2" by Philip Glass.
As I watched, I noticed that something was off about the piece. The dancers were more in what I would call recital mode rather than a professional dance performance. Glass' compositions tend toward the spare and contemplative but "Mishima" is a layered and complicated blend of rhythms and counterpoint that did not pair well with the choreography. It could be that it was intentionally designed to be danced slightly askew to counter the music. It did not work so well. I saw what looked like errors in timing and ill-timed entrances and exits. Passengers Within is about breaking away from societal norms and following your vision and beat. It could be tightened up and made more cohesive. Also, the lighting was inconsistent with where the dancers were performing. I don't know if that was deliberate but most of the show was lit with stark spotlights and yellowish filters. It was uncomfortable to watch.
Dance Two, Sad Case was a satirical look at life, love, and animals in the barnyard. It was a vast improvement over the first act. The dancers seemed to enjoy the choreography of Sol León and Paul Lightfoot. They wore unitards that appeared to have veins and spines painted on them. It was beautifully abstract as was the mambo music that accompanied this piece. The movements of the dancers are precise and very body conscious as every beat was felt and the body dynamics were excellent. All muscles are in motion with facial expressions marking the satirical nature of the dance.
The music was by mambo greats Pérez Prado, Alberto Domínguez, Ernesto Lecuona, Ray Barretto, and Trio Los Panchos. Mambo came out of Cuba in the 1930s but found international renown and success in Mexico. It is rhythmic and exclamatory with shouts and improvisational jams at the end. Sad Case was quirky and fun to watch. It redeemed the show from the first act. There was some spoken word over the soundtrack that sounded like a telenovela making fun of romantic notions. León and Lightfoot used contemporary movement as their inspiration. This was more in the style of contemporary dance and the dancer's physiques were used in an economical way for more impact. Envision a wooden drawing mannequin come to life where every part is in perfect tune. Again, the lighting was an issue. It was so dim and it did not seem coordinated to the dancers.
The final dance was the stunning White Darkness choreographed by Nacho Duato in honor of his late sister. Duato choreographed this as a study of addiction and its insidious grip on young people. The music is "Adiemus Variations –Adiemus-Songs of Sanctuary-, String Quartet no. 2, Passacaglia" by Welsh composer Karl Jenkins. It is perfect for the elegiac remembrance of a loved one who died too early. White Darkness is beautifully danced by the ensemble. Their movement expresses sorrow and the grip of addiction, as a powder-like substance is flung around the stage. Watching them crouch before the piles of powder and then having it rain down like a deluge was quite effective. White Darkness evoked sorrow and reflected the helplessness of those affected by addiction. This was the segment where the lighting worked perfectly against the silvery white substance covering the stage and the memory of life fading. The choreography demonstrated the power struggle between family and the dangers of the world for the vulnerable. This was the best choreography and dance of the performances. I recommend Compañía Nacional de Danza for originality and the fun that the dancers seem to be having. They should tighten up their ballet game and the lighting should spotlight the artists, not hide them.
Overall, I recommend that you see Compañía Nacional de Danza when they come through the Midwest again. There are some hiccups and hopefully they will get smoothed out. This was a one-night performance on Saturday, February 10, at the beautiful Auditorium Theatre, 50 E. Ida B. Wells Drive. The coming months feature a wealth of dance performances. For more information, check out www.auditoriumtheatre.org and the Compañía Nacional de Danza website cndanza.mcu.es
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