UTOPIA
Original idea, Direction and Choreography: Maria Pagés. Music and arrangements: Rubén Lebaniegos, Fred Martins, Isaac Muñoz and José "Fity" Carrillo. Lighting: Pau Sallana. Stage design and costumes: Maria Pagés. Venue: The Niemeyer Center, Avilés (Spain).
EL MUNDO, October 10th 2011/JULIA MARTÍN
Utopia will possibly be the last production staged in this magnificent Niemeyer Center, as the programming will be suspended as from November, due to the lack of license for the use of the installations, which comes as a consequence of the new tenancy of the Principality.
This ode to simplicity and human encounters, which has put Asturias on the map internationally and highlights Avilés as a new center for cultural tourism, is in peril. Amidst the winds of closure that are blowing, this Utopia took on a tragic light last night, being as it is, a hymn to optimism. Maria Pagés has conceived this show as homage to the great humanist, to the simplicity and curved lines of his architecture and to his concept of life, integrity and social commitment.
This evocation is sometimes literal in the movements of the "Sevillana", reproducing sinuosity and spherical movements as it develops. At other moments this homage - militant and non-reverential - is to be found in the poetical expression of the group as it plays with the profound space, lit by subtle spotlighting that isolates their figures as if they were passers by in a universe that they seem to explore and enjoy, accepting it's fugacity.
The piece flows without a break, always keeping within the codes of Flamenco. It is entertaining, its symbols and images are filled with hope. They are present in the songs, verses by Benedetti, Cervantes, Machado or Neruda, present in those very fine curved lines that compose the stage design. The company, musicians and dancers show security and understanding, all together, in their interaction with the velvety voice of Ana Ramón and the vigor of Ismael de la Rosa's voice, whilst Maria Pagés puts a focus on the message with her powerful display of physical and mental dominion.
Utopia proves to be a subtle, harmonic and dramatically effective staging, the product of a clear idea of what is to be said and how. It has the power of simplicity. Those minimal lines that contain the substance of expression, that frame or expand, enclose, or serve as a landscape for the dance. Although the lighting is subtle, it contributes to the capture of the expression; the message of optimism and anemic thrust is clearly conveyed.
Maria starts up with a free and generously designed "Farruca"- choreographed by José Barrios - in which her silhouette, dressed in black tights, appears as if Niemeyer's pencil has come alive. In the second dance she appears as a vestal virgin, perhaps representing the all the vital impulse intrinsic in utopias. She paints desire, vertigo and convulsion: a fantastic visual moment that surges from the classical poetic arm movements that Pagés began years ago, to the sound of Saramago's voice.
The "Martinete" stands out in the peak of the energy rise, with sustained emotional tension. Followed by some Brazilian "Tangos", to the words of Niemeyer's "Awaiting nightfall". A foreshadow of what is to come. Maria Pagés ends her wonderful performance wearing a Flamenco dress, symbolizing cosmic movement, in a set of difficult "Alegrías" that she dominated - although somewhat long drawn out - representing the valleys, clouds and seas named in the songs.
She is left fluttering her wings like a lark that loses itself in the darkness.
