Eduardo Guerrero is flamenco in its richest current incarnation. The Cádiz-born 34-year-old crafted a solid career in the companies of some of Spain's most important dancers, including Eva Yerbabuena, Antonio Canales and Rocío Molina. However, his two solo shows, El callejón de los pecados ("Sin Alley") and Guerrero ("Warrior"), are what have brought Guerrero to the forefront of flamenco dance in Spain.
The latter production received the Audience Award at the 2017 Jerez Festival due in large part to Guerrero's astonishing endurance: Dancing for nearly an hour and a half straight, pausing only to change costumes (sometimes onstage), Guerrero tells the captivating story of his relationship with women. The archetypal roles of the mother, the lover and the friend, performed by three female singers, all demand a different emotional and physical response, allowing Guerrero to display a breathtaking array of movement that often pushes him to the perilous limits of human motion.
Guerrero has deftly created an entirely unique style built on a flawless technique that appeals to both flamenco purists and fans of innovation. While his aesthetic is contemporary, his physical language is rigidly traditional. No one can say Guerrero's work is a product of fusion.
Devon Teuscher performing the titular role in Jane Eyre. Photo by Gene Schiavone, Courtesy ABT
Story ballets that debut during American Ballet Theatre's spring season at the Metropolitan Opera House are always the subject of much curiosity—and, sometimes, much debate. Cathy Marston's Jane Eyre was no different. The ballet follows the eponymous heroine of Charlotte Brönte's novel as she grows from a willful orphan to a self-possessed governess, charting her romance with the haughty Mr. Rochester and the social forces that threaten to tear them apart.
While the ballet was warmly received in the UK when Northern Ballet premiered it in 2016, its reception from New York City–based critics has been far less welcoming. A group of editors from Dance Magazine and two of our sister publications, Dance Spirit and Pointe, sat down to discuss our own reactions.