Lillith – A fabulous Collaboration

It was necessary to consult Wikipedia for information about Lillith to learn that she was reputed to be Adam’s first wife and was cast off. The Jewish tradition about her must be quite varied, and the general implication is that she must have been nasty and too much a challenge for Adam. Other than that, Lillith is a mystery and Fanny Ara, the special flamenco artist, decided to collaborate on the 55-minute piece bearing that name, presented in ODC’s B Way Theatre February 23, 24-25. I saw the February 25, 5p.m. performance. I was mesmerized, not only with Ara’s performance, but also with the totality of the production.

Lillith under Ara’s direction included Gonzalo Grau for musical direction, plus keyboard and cello; Vardan Ovespian as pianist, Pamela Martinez as costume designer, Mathew Antaky, as lighting designer with Miriam De Silva as stage manager.

Additional credits listed n the single sheet were Padron & Co, graphic design; Muchachado Mandanga for poetry and Emilio Ochando as artistic advisor.

The program stated four stages: Identity; Pretend; Sexualilty; Liberation.

All that aside, the lights went up on Ara, illumined in a still position at backstage left, with greenish color accents, looking like something from a 19th century Dante Gabriel Rossetti painting. As moving downstage, cloaked in a cape-like garment with its head covering, the sense of prowling established itself with only the occasional use of taconeo. Actually, the elements of flamenco were employed sparingly throughout, accents to emotion, to be sure, but never displayed for virtuosity.

The mid-section of the piece displayed a marvel of the art of the prowl, cat-like but also with touches of “what’s it to you bub?”, “just you try,” achieved with little, if any castenets. I wouldn’t want to be in that path or confronted with the wrathful image Ara projected. Piano and percussion amplified the storm.

The tempest abated and this creature became aware of the sensuous nature of her being; there was preening and a brief flirtation with the piano [Ara’s early training was with the piano], seeming to come to terms with mood, energy and environment. The contrast in movement style and quality was marked.

The final portion displayed Ara utilizing skirts, turns and occasional taconeo, the creature of her imaginings gathering bits and pieces of her travail into a new state of being. Supported by her two musicians, she embraced the swirl of her many skirts, the space and a different mentality as the stage abruptly blacked out.

I was staggered at the intricacy with which Lillith wove its ambiance, to say nothing of the costumer’s skill in supporting a flamenco artist whose stature is major, and whose sparing appearances makes her presence and the productions she conceives so memorable.