[Review] Ballet Flamenco Sara Baras in Alma – this review could be two words long: Holy $#!+

I can’t decide if it’s encouraging or disillusioning that flamenco seems to have the same conflicts as ballet, or rather all dance genres: ageism and evolution resistance.

But perhaps Sara Baras – “a living legend in the flamenco world” – is proof that flamenco is currently more inclusive than other forms. As Baras herself recently confirmed in an interview for inews.co.uk: “In classic dance, I wouldn’t still be going at 52, but in flamenco I’m stronger than ever.”

But – I hear you cry – what of Alessandra Ferri?! And yes, absolutely, but is Ferri an anomaly rather than a new, permanent trend in classical ballet? Or maybe, over the next twenty years, I’ll be proven wrong. I very much hope so!

The controversy in flamenco, again from the inews article, is courted by Rosalía, a Catalan popstar who is trained in flamenco and has angered traditionalists by mixing flamenco with reggaeton. Some would argue that fusion of any kind allows existing, historical forms to reach new, broader audiences, however, synthesis doesn’t (unconditionally) guarantee development or good work!  

Baras was born in San Fernando near Cádiz, trained by her mother Concha Baras, and considered a child prodigy early on. Her own private company Ballet Flamenco Sara Baras is based in Puerto de Santa María in southern Spain and celebrates its 25th anniversary this year. 

Baras opens the 2023 Flamenco Festival at Sadler’s Wells (running annually since 2004) with six performances of Alma, meaning soul. I attended the second night (6 July) to witness the spectacle that acknowledges the flamenco techniques siguiriya, soleá, caña, rumba and buleria, oh my! And not forgetting bolero! We’re also told “you don’t need to know what the words mean, you just need to feel it”, but does Alma do the job?

The answer is an astounding yes. This review could be two words long: HOLY SHIT. Or three at a push: SARA IS QUEEN. But I’ll give you a little bit more. 

The overall production is properly high-end. Think Vegas – the slick and tasteful side. And personally, I wouldn’t place Baras in the exclusively traditional zone of flamenco, as many costume, light design and set choices have a very contemporary, now feeling.

Throughout there’s an evident rapport between Baras, the company dancers, musicians and singers. She’s clearly an inspirational boss, with the right mix of humility and leadership, and this is also what she conveys when dancing, flipping between states of yearning and arrogance – a heady, and intoxicating juxtaposition. 

Watching her, I was visually reminded of Carla Fracci (off stage), as there’s something similar about the simple, unadulterated look. The hairstyle is sleek, centre-parted, pulled back, with a thick plait. And likewise, in relation to her presence, you immediately know you’re in the vicinity of a major star… but why? 

Indisputable skill? Check. Where to even begin though? She’s far more than ‘just’ a dancer, her role encompassing that of composer (see below), conductor, musician (using the body as instrument), choreographer, dancer, producer and director, all simultaneously. 

As far as I’m aware, a lot of flamenco is ad lib with the dancer leading the musicians and singers, and vice versa. And boy did Baras lead. She had us all completely in the palm of her hand, her company members fiendishly analysing every move as she danced, the musicians and singers sensitively following her tempi, realising her dynamic needs, and sculpting the rhythmical and narrative phrasing around her communicative movement. And as for us, the audience? We were total, and utter putty. I don’t think I’ve ever felt the Wells so engaged, focused and silent (!) when a performer commanded it. Or the total opposite, when they riled up their punters!

Flamenco, as we know, is largely informed by rhythmical foot and heel work, yet Baras somehow takes this to a whole new level. The speed and clarity of her execution is unfathomable – think a machine gun mixed with Mitsuko Uchida playing Mozart. There is a large amount of slow-mo, and still posturing, which visually reminded me of the Matador in action, and even more so when a vast shawl is used to enhance the spatial exploration of her movement language possibility. 

Of course, it’s about far more than just technical skill, as Baras, and other stars, tend to have bucketloads of charisma – omnipresent star quality. But where does that charisma come from? I propose it’s initially born from the skill itself (dancer), first becoming an internal understanding of capability (mastery), developing into an external form of confidence (performer), and if you’re very lucky, one that’s capable of contemplating perspective… a.k.a. humility (🌟).

And where does this take us? To a flamenco show that’s capable of encapsulating the essence of a country’s history and culture in a fresh, contemporary take, all led by an artist who both defines, and transcends the genre concurrently. 

Thank god flamenco is inclusive, or perhaps thank Baras for being so darn good at it, that no one can deny her prestigious place at the table. Can we even begin to imagine if she wasn’t able to have her current career placement because of not fitting an existing mould, or belonging to the right demographic? It doesn’t bear thinking about. But actually, it’s something we absolutely have to consider – admit even – as it’s the ongoing reality for most dancers in many different sectors.

Throughout the performance, Baras blew kisses in a very heartfelt, genuine manner, and said “muchas gracias” as she took her many bows, and I take this opportunity to say thank you in response – for her gift, the limitless work it entails, and the fact she’s willing and able to share her perseverance and successes with all of us.

Note: the production begins with an extended, over-the-speaker narrated monologue in Spanish. I wonder if subtitles would support this moment further, as it’s atmospheric in its current state but little else if you don’t speak the language. A missed opportunity. 

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.