WHERE AND WHEN:
January 28-31, 2011 (NOTE UNUSUAL SCHEDULE)
Theatre 80 Saint Marks
80 Saint Marks Place, Manhattan
Fri & Sat at 8 PM, Sun at 3 PM, Mon at 8 PM
Tickets $20-$35. Box office (212) 388-0388
Online ticketing available at: www.theatre80.org
Artist's website: http://www.rebecaflamenca.com/
Runs 1:15; REVIEWERS ARE INVITED to all performances

NEW YORK, December 17 -- As a sequel to her critically acclaimed, sold-out debut at Theatre 80 Saint Marks in May, 2010, Rebeca Tomás, a fierce and feminine New York-based Flamenco artist, will return to the East Village venue January 28 to 31, 2011 with "A Palo Seco: Rasgos Flamencos," a new collection of Flamenco music and dance works with an innovative and edgy New York feel. Tomás and company, including two dancers, two singers and four musicians, will re-envision aspects of last season's production--which was entitled "A Palo Seco"--while introducing several new pieces, both traditional and unconventional.

The term "a palo seco" refers to two of Flamenco's most intimate yet opposing qualities: a deep emotional rawness and a groovy rhythmic playfulness. "Rasgos Flamencos," as a sequel to the original production, will be true to its namesake, presenting "typical characteristics or features of Flamenco." However, Tomás has a penchant for presenting some of these characteristic features in a not-so-typical format.

Jack Anderson, reviewing last season's "A Palo Seco" in The New York Theatre Wire, praised Tomás for both her innovativeness and her strength in traditional forms. "Tomás is seeking to develop flamenco in new ways...Experimental new works are welcome in every dance form; otherwise, that form stagnates. Tomás and her company know their flamenco, yet they're willing to play with its conventions."

The review by Gia Kourlas in The New York Times was headlined, "Making Flamenco Modern With Pain and Playfulness." Kourlas wrote, "Ms. Tomás was driven by a desire to give the art form a modern edge… she achieved sleek synchronization as three dancers passed up long ruffled skirts in favor of black pants- all the better for transforming their stomping feet into machine guns." Kourlas described Tomás as "slender, petite and in possession of sharp, articulate footwork." The review related how the evening's modern work, "Metamorphosis," began at the piano and ended in a dance of inner turmoil, creating "images full of pain and suffering," while later, Ms. Tomás's "delightful 'Alegrías' gave her something special, too: a chance to own the stage, with ample charm."

While last season's show contained such nontraditional touches as Tomás playing Beethoven's "Moonlight Sonata" at the piano and dancing a modern piece to music by Regina Spektor, this show will utilize different nontraditional elements. Ever innovative, Tomás has created a new solo work featuring the Spanish fan, el abanico, a traditional technique within Flamenco. Giving the prop a distinct touch by using it as a percussive instrument and a visual punctuation, she has choreographed an original composition that diverges from the conventions of Flamenco. Nevertheless, the piece stays true to the theme of the evening, "a palo seco," as it is performed with no musical accompaniment apart from percussion.

Fresh elements will also be seen in Tomás' final number, a new solo within the Flamenco style of Alegrias. This piece will be danced in the traditional Bata de Cola (long train dress) and will echo the evening's first solo by employing a fan at certain points in the dance. In addition, the group number, "Tangos," has been rearranged and new musical compositions will be debuted.

Reviewing last season’s show, Lindsay Miller wrote in TheaterOnline.com, "The energy of the performers in this showcase of flamenco dancing and music was infectious – at times, the sold-out crowd of 200 could not help but clap along and give encouraging shouts of 'Olé!'" She interpreted "Metamorphosis" as a depiction of Tomás' struggle to overcome obstacles and personal constraints. The evening was summarized as "truly a feast for the eyes and the ears."

Critic Eva Yaa Asantawaa insisted to readers of her blog, "InfiniteBody," that they see the performance last season, deeming it a major debut and calling Tomás a "well-crafted explosive device."

Petite yet strong, Tomás is only 5' 1" but appears much larger onstage. Her performance style is sharp, graceful and clean. "Being small, I have a low center of gravity," she confides. This might be why she can tightly execute a wide variety of turns, from repetitive "heel" turns and pirouettes, to the most famous of the female Flamenco turns, the vuelta quebrada, in which Tomás arches her back so completely that she never takes her eyes off the audience. She has also been praised for the musicality of her footwork, which displays an unusual precision of rhythm.

As a dancer, Tomás has freelanced as a soloist with various companies, including Noche Flamenca, Flamenco Vivo Carlota Santana, and Jorge Navarro's Pasión Flamenca. She trained in Granada at Maite Galán's Escuela de Danza Española and later moved to Madrid, where she studied at the internationally renowned Flamenco academy Amor de Dios. There she appeared at various tablaos, including Al Andalus and Las Carboneras. She is a two-time recipient of the Jerome Foundation's Travel and Study Grant (2008 and 2010), as well as a scholarship recipient of the school at Jacob's Pillow (2008). In June, 2010, she won first place in the XIII Concurso Nacional de Flamenco, part of the internationally renowned Festival Flamenco in Albuquerque, New Mexico. In spring 2011, she will be working with the company Revolución Latina, teaching in their "Beyond Workshop Series" and collaborating with seven other choreographers (some hailing from companies such as Martha Graham and Jose Limón) in order to create a 90-minute piece that features various dance styles in a single thematic performance.

Her star is also rising outside the Flamenco performance realm. She recently served as assistant choreographer for the Lincoln Center production of "Women on the Verge of a Nervous Breakdown," running through January 23 at the Belasco Theater. In January 2011(coinciding with this production), Tomás will be working on Yaron Zilberman's upcoming indie-drama, "A Late Quartet." Tomás will choreograph, train, provide footwork doubling and appear in the movie's flamenco scene.

"A Palo Seco: Rasgos Flamencos" is conceived and directed by Rebeca Tomás. Artists appearing with her include dancers Sol "La Argentinita" and Laura Castellano, guitarist and musical director Pedro Cortés, bass player Sean Kupisz, violinist Alí Bello, percussionist Oscar Valero and singers David Castellano and Bárbara Martínez. Lighting design is by Stephen Petrilli.  Sound design is by Alex Neumann. Some costumes for Ms. Tomás are contributed by Sally Lesser. Tomás' website is http://www.rebecaflamenca.com.

"A Palo Seco: Rasgos Flamencos" is made possible in part with public funds from the Manhattan Community Arts Fund, supported by the New York City Department of Cultural Affairs and administered by Lower Manhattan Cultural Council.

# # #

REVIEWERS ARE INVITED to all performances.

Captioned, high-resolution photos of this show and all other shows currently represented by Jonathan Slaff are available for download at: http://picasaweb.google.com/jslaff/jsnyc#