Sadler's Wells Theatre

La Chana

Gala Flamenca La Chana, Dios del Compás

  • Wednesday 21 February 2018
  • 19:30 h
  • Sadler’s Wells Theatre
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  • Thursday 22 February 2018
  • 19:30 h
  • Sadler’s Wells Theatre
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  • Friday 23 February 2018
  • 19:30 h
  • Sadler’s Wells Theatre
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Featuring Antonio Canales, El Farru & Gema Moneo. Directed by Angel Rojas

Nobody should have resigned himself or herself to the idea that the Muse of genius, the frightened little fairy, had fled to the darkest corner of La Chana’s soul. Nor that she, who on the verge of becoming one of the Olympian myths of Hollywood, had diluted into the silence of oblivion. Nobody should have allowed profane hands to destroy the fiery receptacle which sheltered the “el duende” of the deepest root of art. But it came to pass; brutality and senselessness forced the “el duende” to retreat, quiet and downcast inside La Chana, who was always a source of purity, a bitter ill-fated vessel, a high priestess of the altar of the beat.
But time has undressed the truth and placed La Chana in the center of our gaze. Four decades later, without a single word and perched at the risk of the improvisation that characterizes her, we are told the poignant truth from her “dancing armchair”, which she bewitches and converts into a magical sanctuary where, for our enjoyment, the Muse and the Goblin have returned after such a lengthy exile.
With the intention of returning the gift that La Chana bestowed upon them with her art, and surrounded by a team who hold her in an admiration bordering on religious, the biggest performers have wished to collaborate in this exceptional spectacle, celebrating her return to scene from the depths of their hearts.

La Chana

“And surely the most extraordinary of those solos was ”The Passion That Creates,” performed by La Chana, who gave the illusion that she was as much a sorceress as a dancer. She rushed onstage with desperate urgency. Slashing at the air with her arms, she could have been a woman possessed by spirits. When her feet moved quickly, they appeared to quake and tremble. But never was there any loss of control in this outburst. Rather, her heelwork produced dry rattling noises and led to an amazing sequence of trills in which the sounds of her feet against the floor built in a tremendous crescendo, only to dwindle away to exist on the edge of a silence that La Chana made as awesome as her storms.”
The New York Times