Let me say that I hope the Olympic Committee engages this company for one of the many festivities surrounding the impending Olympic Games to be produced here in Los Angeles July 14th – July 30th, 2028. I can think of no better deserving organization which perfectly captures a specific part of the diversity of this city. This is my own humble opinion after seeing the Grandeza Mexicana Folk Ballet Company on numerous occasions, this time at the Luckman Theatre, delivering excellent artistic faire and engaging visual material. The choreography, sets, and costumes all come together to produce a compelling evening of theatrical dance and storytelling. Founding and Artistic Director, José Vences and Co-Artistic Director Miguel Hernández-Mercado are to be commended on their vision and leadership of this company.
Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
Let me begin with the costumes! They are so integral to the storytelling and pageantry of the performance that it is impossible to imagine the choreography without them. The costumes add a burst of first and foremost, color. The color combinations pop and draw the eye towards the movement they make. While working the skirts in a circular pattern the dancers create a hypnotic effect. Pink skirts with lime green borders swirl to engage the eye in an overlapping dizzying visual. Purple against gold is reminiscent of Van Gogh’s color palette. Then the textures are noticed, then their part in accessorizing and adding to the movement. The Costume Designers are José Vences, Elias Roldan and Benny Vasquez. These three give Edith Head a run for her money. In terms of material draping and moving with various designs via ribbons, applique or embroidery, they all but surpass her. The Costume Construction is due to Catalina Villamil, Graciela Pantoja, and Guadalupe Onofre. And they deserve an Academy Award for the detail and effort put in to any one of the costumes onstage, let alone the hundreds that I witnessed. With 24 dancers in one number, this is no exaggeration. From the opening sequence which takes place somewhere in downtown Nazareth, to the arrival of an Angelic Host, to the rocking entrance of Aztec warriors, the costumes change entirely from the hairpieces, braids and headgear to the shoes, leggings and loincloths. The shoe budget alone makes this company worth seeing. When an Archangel shows up to announce the shocking news to Mary, (This must be Gabriel, but then later they defeat Satan so it could also be Michael), they are sporting an extravagant gold cape doubling as wings. This outfit would make Liberace jealous. It is a symphony of gold and yellow with other highlights thrown in along the borders. It is stunning and would be perfectly at home at the Met Gala in case anyone goes after this show.
Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
The opening pageant of the Story of Mary and Joseph in Nazareth was completely charming. It began with a solo operatic singer, who set the tone and then led us straight into the drama taking place around the town square. The choreography was based on Israeli folkdance and the character work was true to place, with a little Yemenite thrown in for good measure. Someone had done their homework. For the section entitled: “La Pastorela: Teatro, Fe Y Diversión” there were many scenes and songs elaborating the struggle between Good and Evil. As is the case with John Milton’s Lucifer from “Paradise Lost”, the Devil here is so very entertaining. His costume was a tailored red suit fresh from the Milan Fashion shows, except for the long tail. He had ten times the personality as the Archangel. It is always a difficult task to demonstrate Good triumphing over Evil. There is always an existential problem with the power Good uses to smite Evil. But this was viewed through the eyes of a child which rendered it all great fun.
Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
The musicality throughout the evening was exceptional. The choreography reflecting the melodies or punctuated percussion was clean, clear and well executed. There were so many numbers with so many dancers all in perfect synchronization. Kudos to the rehearsal director(s). The footwork all through the evenings’ exertions was precise. Every stomp and toe tap audible and true. This was brought most to bear during a cowboy set with all the men doing the footwork together in their boots. As in Clogging or Tap, the musicality is punctuated, and the dexterity of the foot and ankle are highlighted. The women join in, and all hell breaks loose. This barn storm’in cowboy set was high energy and physical stamina. The partnering in this section was difficult with whip turns and lifts all performed in perfect unison. It brilliantly showcased the dexterity and capabilities of the Dancers. They were: Pablo Alvarez, Gisselle Ayala, Leonardo Carreño, Clarisa Coronado, Zaira Coronado, Alondra Fernandez, Lauren Galindo, Clarissa Garcia, Flor Garibay, Esmerelda Garduño, Victoria Gomez-Alvarez, Brianni Gonzales, Manny Hernandez, Maya Holguin, Ximena Leal Martinez, Sebastian Lopez, Fernando Macias, Miguel Marron, McKayla Francis Mercado, Manuel Muñoz, Marisa Muñoz, Destinee Nuñez, Alejandra Oregon, Jocelyn Orozco, Brian Osorio, Evelyn Rangel, Erika Rivera, Alessandra Rocha, Alexa Rocha, Alina Rocha, Aryana Rocha, Elias Roldan, Michael Rysdon, Adrian Saldaña, Jazmin Sanchez, Ana Serrano, Josue Silva, Teresa Del R Uscanga Z, Diana Soto Vazquez, Jacob Vargas, Walther Verdugo.
For this show Grandeza Mexicana also showcased guest dancers from a few other companies. They were Yuritzi Alcantar, Mia Medina, Allyah Quezada, and Jessica Sanchez Rea from “Ballet Folklorico Orgullo Mestizo”; Juliana Gutierrez and Montserrat Hernandez from “Sol del Fuego”; Eva Adame, Matthew Cornejo, Jatziri Esquivel, Abigail Godinez, Alannah Godinez, Yamileth Gutierrez, Fernando Macias, Genesis Martinez, Karen Martinez, Diamond Monzalvo, and Stephanie Monzalvo of “Pilares de Mexico”.
Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
The Mariachi band played at various intervals and added the zing of live music. This was the Mariachi Arco-Iris de Los Angeles, or The Los Angeles Rainbow Mariachi – the world’s first LGBTQ+ mariachi. They have persevered during an ever-growing campaign against the LGBTQ+ and Latinx/immigrant communities. They are committed to stand even stronger in their mission of queer visibility despite the hardships of financial, emotional and stressful attacks on their communities. They had great vocals and captured the spirit of the Christmas celebration. They were: Carlos Samaniego, Noel Loera, Yaya Vasquez-Lopez, Ricardo Arzola, Melissa Diaz, Oscar Martinez, Edwin Martinez, Brian Espinoza, Jeremy Rodriguez, Azul-Celeste Rodriguez, Saulo Garcia, Sammi Bautista, Andrea Lopez.
There was also a chorus of voices which sang various songs and raised the bar even further by adding operatic timbre into an already sensually vibrant scenario. These voices were provided by the Cencamaltl (Choir). They were Delia Rios, Julia Behbudov, Ciara Mashea, José J. Delgadillo, David Leon, Oscar Chávez, Alberto La Torre Jr., Julio Espinoza.
Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
The patterns and organization of the lines of choreography in many of the numbers would make Busby Berkeley proud. The stamina and precision of the dancers was fantastic. There was a ribbon dance that became an exercise in geometry as it was ridiculously complex and had the dancers inverting formations creating a colorful spirograph of humanity.
The next section was in honor of the “Dia de Guadalupe: Virgen de los Mexicanos” observed on December 12th. The set here was gorgeous depicting a stained-glass version of Our Lady of Guadalupe looking down upon an interior of a Cathedral. Scenery Designers listed as: Luis Enrique Gonzalez, Patricia Onofre. Their work was fantastic and served to elevate the show in every scene. Getting back to the Cathedral set – it was interrupted by the entrance of 12 Aztec warriors in full regalia, armor, armbands, Ayayotes Coyoleras, or Aztec Dancer Leg Rattles, all topped off by huge, extravagant feather headdresses. It was here that the show launched into a full-scale spectacle. I was reminded of a Federico Fellini movie with surreal visuals shaking the optic cortex into another reality. At one point another solo opera singer comes out to center stage and in a downspot sings the “Ave Maria” as she drops to her knees in supplication. It was like a Frida Kahlo painting come to life. There was clearly seasoned professionals onstage as well as a group of younger students all taking part in the celebration of Christmas through songs and games. I could go on, but my message is clear, go and see Grandeza Mexicana Folk Ballet Company wherever they are.
To learn more about Grandeza Mexicana Folk Ballet, please visit their website.
For more information on the Luckman Fine Arts Complex, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: Grandeza Mexicana Folk Ballet in “Diciembre Mexicano – A Mexican Celebration” – Photo courtesy of the Luckman Theatre.
