Juan Tomás de la Molia and enjoy dancing

There was a fear of getting to the stage, because just a few meters away the Cartoja Stadium was filled with Betic and Dutch fans for the much-anticipated international match. Before arriving at the central, a police checkpoint prevents passage: “Let’s go to the theatre,” so they let us pass. The theater staff spoke with the police and Secop because 400 people were expected to attend flamenco and access problems had to be avoided. This will remain the case as long as there is a match in Cartoga and a theater in Central.

In this work, everyone has a good time, because from the first moment the audience knows that they will see good flamenco, but in a different way than usual. “Vertebrado” has stage direction by Manuel Lenanchoreographer and dancer from Granada who triumphed with works such as “Muerta de amor” or “Viva”, and who created for this proposal by Juan Tomás de la Molía a dynamic very similar to that of his later work, that is, There is no dancer, guitarist or singer here, there are artists who can do it all. no sooner said than done.

Liñán seems to have a knack for discovering personalities, in his current team there are personalities such as Alberto Celis or Miguel Angel Heredia And now also Juan Tomás de la Molia. This is called odor.

Boleria is the basic style of this presentation Where it’s all about energy, humor and, above all, empathy between the artists, because if this wasn’t there, “Vertebrado” wouldn’t have come out the same way. Contrary to what one might think, instead of just one stick in action, there seems to be many, many more.Which follow one after another, but it is buleria, there is nothing else, simple. Just as Maria Moreno performed using only solia, Molia chose boleria, which is more rooted in her dance form.

The show is choral, everyone acts. With no objects, just four chairs, where the artists move, where they sit, they all spend time together with their feet, leaning towards the floor and doing it with their joints, dancing together and moving their feet as they sit…, and they also talk, telling their lives, how they found the buleria, they do it Manuel the girl and the lollipop“When I was nine years old, that bakira…” they say.

A tribute to the opening of the work to the great buleria singers, and the strong and powerful cry of La Baquera comes in the voice of Manuel de la Nina, and the buleria begins its journey for sixty-five minutes of dancing, singing, playing and even conversations full of humour, and it is impossible to believe that the galeo are working, Such as “live wifi”, Choupette shouted in the middle of one of the many bulerias. Humor and good flamenco, a delight.

Juan Tomás de la Molia is a young man who dances the old-fashioned way, for the sake of dancing, who knows how to give nuance to very fast zapatidos, and who finishes at will wherever and however he wants. He moves his arms and hands with flamenco movements, no doubt about it Mulia enjoys dancing and it showsHis face exudes happiness, and this is what the respectable people who filled the central enjoy.

In this choral work everyone is wonderful; Jesús Rodríguez embellishes his intervention and ends up dancing at the request of the canto; Exuberant singers in their various types of buleria form a fast-paced chorus. The Bailauer not only dances, but sings and acts, and in the end, to finish with elegance, He picks up the guitar and while playing it, dances with it, forming a duet between tapping and strumming. genius. A work that the admirer will undoubtedly enjoy and brings flamenco closer to those who try to taste it.

The show left the central audience feeling like they had spent an hour of good flamenco dancing and non-stop dancing with good humour, with a different show starring four artists. Liñán’s hand could not have had better tools to create “Vertebrado”. Long life.