The performance started promptly at 8:00 p.m. when Timo Nuñez walked slowly on stage. There was absolutely no need for the ushers to remind the audience to be silent, as when Nuñez appeared on stage, all eyes were on him and all jaws were on the floor (it couldn’t have been just mine!) Standing at well over six feet tall, his intense gaze and graceful movements immediately commanded the audience’s attention. The first number was a martinete a dúo performed by Nuñez and La Pamela (Pamela Lourant.) Their taconeo (heel/footwork) and braceo (arm movements) were in nearly perfect sync and their chemistry is almost tangible. Their movements were sexy without being overly erotic, and their footwork was intricate without coming across as showy.
Alegrías were performed by La Pamela. Her unique style of dancing brings an air of individuality to the performance and there exists an almost sassiness about her which leaves the audience wanting more. In particular, her beautiful smile and graceful arm and hand movements kept the audience rapt for her entire dance solo (including my extremely restless seven year-old, who has a chronic case of ants-in-her-pants.)
The dancers were accompanied by Jesús Montoya on vocals and José Tanaka on guitar. Montoya’s voice is the image of Spain, and in it he brings the love, pain and beauty which is flamenco to the audience, and together with the incredibly talented Tanaka (who left his native Japan to study flamenco guitar with Spanish gypsies at the age of 24) they provided the dancers with music as beautiful as their own movements.
At the end of the show, Nuñez recognized a familiar face in the audience, and brought out dancer Mizuho Sato for a solo of her own. Even in a sweater and jeans Ms. Sato blended right in with the rest of La Compañía (dance company), reminding us that flamenco is not about the clothes you wear, or the way you look - it is about the way you feel. And the way you feel when your walk out of a Forever Flamenco performance is pretty darn fabulous.