One of the brightest things to have happened in dance over the past decade has been the coming of Acosta Danza, as evidenced by this celebratory programme of diverse work. The least Hispanic piece was George Céspedes’ La Ecuación, opening with four dancers strolling from upstage darkness to perform consecutive solos inside the well-lit skeleton of a large cube, stretching their limbs to the max in gestural choreography before mixing it in various permutations like a tag-team contest in this stage-within-a-stage.
Associations with flamenco and Lorca inspired both Javier De Frutos’ 98 Días and Goyo Montero’s Llamada. The former portraying the irresistible temptations that Lorca found in Cuba during an idyllic visit, through a potpourri of luscious, swirling movement. Llamada was based on ...
