Festival de Jerez 2019

For us another fabulous Festival de Jerez is over. We have all gone our separate ways, though performances at the 2019 Festival continue until next weekend.  Yet again we have been astounded and amazed by the quality, as well as the variety, on offer.

Festival de Jerez 2019 was also the Festival Feminista, a full-throated riposte to recent regional elections in which, for the first time since Franco, representatives of the far right, via the new party called Vox, won seats in the Andalucian Parliament. Vox stands on a specific anti-feminist platform, as well as being anti-immigration and advocating what sounds like a return to the 1950s. So there was a full supporting programme of events for feminists of both genders. The Festival also had plenty of female headliners – Ana Morales, Eva Yerbabeuna, Maria Pages and, on Saturday, Mercedes Ruiz.

We saw Ruiz at the Teatro Villamarta, where she was joined by some famous fellow performers, including some old favourites. The performance, entitled Tauromagia featured original music and composition from flamenco great Manolo Sanlucar, re-interpreted by Santiago Lara as music director ( see The Guitar in Time and Jazz Guitar ) and singer and setter of text, David Lagos. This reunited three of the four protagonists of Lamento a phenomenal performance which we saw at the 2016 Festival. Ruiz was in fine form throughout, dancing with second soloist, Ana Agraz and a fine cuerpo de baile, Beatriz Santiago, Aurora Carabello and Vanesa Reyes.  We, like the rest of a very full theatre, were enthralled and entranced.  The ovation at the end of the performance lasted a long time, and justifiably so.

It was probably just co-incidence, but we saw more dancing this time than usual. Not just the established stars but some newer, up and comers. So, at Sala Paul, Bodegon, an intriguing set by Jose Maldonado, Javier Latorre and Carmen Coy. This had first been performed at a Festival in France in 2016 but had been developing since. We had seen Maldonado as a member of Miguel Linan’s company in 2016 ( see Reversible ), representing the masculine. Here he had a more fluid style although still exhibiting classical training and remarkable athleticism in a set originally directed by Linan. A modern dance piece with flamenco at its heart it was about creativity and art and involved the principal painting pictures with both paint and light, a remarkable Coy acting as muse, creative idea and, possibly creation.  I do not pretend to have understood it all, but I enjoyed it a lot and look forward to see what this talented dancer does next.

The other dancer new to us was Adrian Santana, who we saw deliver Simbiosis, a more traditional set in Sala Compania on Monday night. Traditional, but still with new ideas.  Two male singers sang separately and together of love and loss as Santana and Agueda Saavedra formed a wonderful partnership, dancing solo and together. Stunning.  Afterwards we kept bumping into the performers, now in civvies, but still on a high from the tremendous reception given to their performance and out on the town.  A terrific end to our sojourn at the 2019 Festival.

And guess what, it didn’t rain. Not a drop.  Unlike last year ( see 2018 Round Up ).  Now London awaits the arrival of a clutch of starry flamenco talent at Sadlers Wells Flamenco Festival 2019. This has finally moved from February/March when it repeatedly clashed with the Festival de Jerez to July.  Hooray – two flamenco festivals a year!

For more flamenco try                 Camerata Flamenco Project                           Lola  Dancing to Different Tunes

Some of these photographs are by Javier Fergo for the Festival de Jerez, others by Helen Hughes.

The Wider Earth

In this case that part of it found in SW7.  Specifically, the Flett Theatre (formerly the Jerwood Gallery) in the Darwin Centre at the Natural History Museum, to see David Morton’s new play about the young Charles Darwin, The Wider Earth.

It is a charming piece, showing a Darwin in his early twenties, concentrating on beetles not lectures at Cambridge before a Summer hunting fossils in Wales and thence, with a little help from Uncle Josiah, the social reformer and abolitionist, Josiah Wedgewood, to the Beagle.  This is where the play really takes flight, quite literally with the puppet butterflies, birds and fishes.

The staging is ingenious, a single set on the central revolve stands in for Cambridge, Shrewsbury, Wales, various Pacific Islands, including the Galapagos, Australia and large chunks of south America.  It becomes the deck and cabins of the ship – not boat, as Captain Fitzroy corrects the young naturalist, who, at first sight, he rejects as unsuitable, only to relent later.

The mainly young cast double as puppeteers, bringing to life the exotic creatures Darwin is entranced by. Working with Handspring, the South African puppetry company which brought War Horse to such vivid life, the company has created some excellent animals. I loved the armadillo and iguana and the giant tortoises are wonderful.  Even an adult audience gasped at the near perfect rendition of animal behaviour, so I imagine children would be utterly beguiled – there are a lot of matinee performances.

This Darwin too is somewhat child-like, Emma Wedgewood, later Emma Darwin, tells him the voyage might help him grow up and the central performance has something of the young Micheal Crawford about it, lots of wide-eyed innocence and worthiness. There is little hint of the tough scientist beneath.  The character more subtly explored is Fitzroy, an interesting scientist in his own right, though that isn’t really mentioned here – evolution is the main event, not meteorology (though Herschel and photography feature briefly). Fitzroy suffered from near suicidal depression and that is touched on, as is his volatile character.

The drama catches the intellectual climate of the time, with Lyell’s geological theories already challenging Christian orthodoxy. Debate rages aboard the Beagle, stimulated by the presence of a clergyman, travelling to Tierra del Fuego to take God to the natives, as well as a native Fuegan, Jeremy Button, taken by Fitzroy from the south Atlantic to be ‘educated’ in Britain.  It shows the experiences – of volcanic eruption, of earthquakes and mountain making, of the differences in species from the various Galapagos islands – which inform Darwin’s thinking.

The play is educative in nature and it tackles its complex subject well, capturing Darwin’s youthful curiosity and exuberance. Emma, the solitary female, is given a mind, and a cause, of her own, in abolitionism and there is no suggestion that, within societal norms of the time, their alliance will be anything other than equal.  I must own up here – the character of Emma was played by an Anderson relative, Melissa Vaughn.

The Wider Earth runs until 24th February and tickets cost between £19.50 and £79.  It’s worth a visit, but don’t go next Tuesday, when royalty is visiting.  The photographs accompanying this post are my own and by Mark Douet.  For a first rate novel about the voyage of the Beagle I recommend This Thing of Darkness, by Harry Thompson (Tinder Press, 2006)