{"id":302623,"date":"2026-05-06T14:20:08","date_gmt":"2026-05-06T14:20:08","guid":{"rendered":"https:\/\/www.newsbeep.com\/us-ca\/302623\/"},"modified":"2026-05-06T14:20:08","modified_gmt":"2026-05-06T14:20:08","slug":"ecos-de-espana-was-plagued-with-problems","status":"publish","type":"post","link":"https:\/\/www.newsbeep.com\/us-ca\/302623\/","title":{"rendered":"\u201cEcos de Espa\u00f1a\u201d was plagued with problems"},"content":{"rendered":"

On Sat. May 2, 2026, I went to the lovely Sierra Madre Playhouse<\/a> to see \u201cEcos De Espa\u00f1a.\u201d\u00a0 The theater was nearly full with families and friends.\u00a0 Several women were wearing Flamenco influenced attire and the atmosphere was cheerful.<\/p>\n

There was no set, strictly a poorly hung black drop, a few chairs and corded microphones with stands.\u00a0 The sound man could be clearly seen stage left and would occasionally wander onto the stage to make adjustments.\u00a0 There was no credit for lighting which was basic.\u00a0 Susana Elena<\/a> the Director and hostess, did not seem to have a script or set narrative to follow and though likable she meandered along saying little to enlighten us as to what we were about to see.\u00a0 This was an inauspicious way to begin.<\/p>\n

First up was a \u201cSevillanas\u201d featuring the company.\u00a0 This consisted of a short stanza of music to underscore the festive dance, here Yolanda Arroyo sang well accompanied by the accomplished Paco Arroyo on guitar, while Susana Elena and Albertossy Espinoza<\/a> danced and Almer Imamovic clapped upstage.\u00a0 The dancing was stiff and suffered from rhythm problems which would be a consistent issue throughout.\u00a0 Elena followed this with a \u201cGarrotin\u201d a dance meant to reflect a lighthearted Gypsy Flamenco flair.\u00a0 Elena, though pleasant, is limited in her technique, her footwork is weak and again her rhythm which is of utmost importance in any dance mode was inaccurate.\u00a0 Her costume throughout was a flattering ruffled blouse and long skirt, a modernized version of traditional Flamenco style.<\/p>\n

\"Susana<\/a><\/p>\n

Susana Elena \u2013 Ecos de Espa\u00f1a \u2013 Photo courtesy of the artist.<\/p>\n

\u201cPaso Doble\u201d followed, a masculine dance performed by Espinoza.\u00a0 Bullfighting and military marching are the underlying themes here.\u00a0 Espinoza is disciplined and focused.\u00a0 His work is cleanly performed and though simple he made the most of each section including the modest cape-work. His rhythm too was not always consistent and his expressiveness was lost in concentration. His flattering costume a red and black suit was beautifully tailored in the Spanish style.<\/p>\n

Throughout, transitions from one piece to the next were confused and unorganized.\u00a0 Often the technician had to walk onstage and adjust something yet again.\u00a0 The live sound was inadequate and truly distracting whenever the musicians played live onstage as audio clicking and dropouts were a constant problem.\u00a0 Elena did not keep things running as is incumbent on the host.\u00a0\u00a0 About halfway through, the backdrop was accidentally paged-back so that we the audience, could see people coming and going, conversing and standing around in the backstage area.\u00a0 This was never rectified.\u00a0 These issues brought this show into the range of amateur.<\/p>\n

\"Ecos<\/a><\/p>\n

Ecos de Espa\u00f1a \u2013 Paco Arroya and Yolanda Arroyo \u2013 Photo by Sari Maki.<\/p>\n

Fortunately, Paco and Yolanda Arroyo<\/a> brought things up a notch with their \u201cNana del Caballo Grande\u201d or \u201cthe lullaby of the big horse\u201d based on a poem by celebrated Spanish poet Frederico Garcia Lorca. This is a moody dance as interpreted by Yolanda while Paco played first-rate Flamenco guitar.\u00a0 Yolanda has real training and understands the facial and body expressions needed to imbue emotion into the work. The mood here is \u201cdark and sorrowful\u201d and Yolanda with her beautiful black dress and long-ruffled skirt brought drama to every movement.\u00a0 She turned, twisted and rhythmically engaged with fast and accurate footwork.\u00a0\u00a0 As the piece developed, she removed her skirt to reveal lacy bangle covered loose pants that shimmered in the light.\u00a0 The gorgeous black skirt became a character itself as she cradled it in her arms like a lost child.\u00a0 This sentiment expressed so well the anguish and longing of Lorca\u2019s poetry that for a moment we were transported beyond the stage.\u00a0 She can also sing but it was her expressive face that drew us in.\u00a0 Near the end Paco joined Yolanda downstage in a rhythmically complex hand clapping segment, to which Yolanda added her accurate footwork for a welcome interlude of proficiency.<\/p>\n

\"Guitarist<\/a><\/p>\n

Guitarist Almer Imamovic \u2013 Photo from the web.<\/p>\n

However, here again the sound system was full of glitches that interfered constantly.\u00a0 When classical guitarist Almer Imamovic<\/a> attempted his solo what we mostly heard was the sound dropping in and out making it impossible to judge the work.\u00a0 This continued during the final solo \u201cAustrias\u201d by composer Issac Albeniz played by Imamovic and danced by Albertossy Espinoza. Espinoza did his best to present a clean and careful dance with castanets, balances and footwork.\u00a0 His work was concentrated and costume beautiful but his footwork timing was again, inexact.<\/p>\n

The finale, such as it was, brought all onto the stage in chaos as Yolanda sang on a dead mic, the guitar players worked through yet more audio glitches while the two dancers moved about.\u00a0 And still, the backstage was exposed and the soundman visible.<\/p>\n

From here there was an audience participation segment.<\/p>\n

Before leaving I spoke to a Sierra Madre Playhouse technician who implied that the theater was not involved in putting this show together.\u00a0 I have seen very good work at the Playhouse and I anticipate doing so again in the future.\u00a0 Unfortunately this show was plagued with problems.<\/p>\n

For more information about what is being presented at the Sierra Madre Playhouse, please visit their website<\/a>.<\/p>\n

Written by Tam Warner for LA Dance Chronicle.<\/p>\n

Featured image:<\/p>\n

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