«Itʼs the morning after the Spanish premiere of Molinaʼs new production, Bosque Ardora, and sheʼs still in shock from the standing, stamping ovation she received. For any flamenco dancer, Seville is a challenging place to win over. It claims to be the birthplace of the form, with every other street having some kind of flamenco club or bar.
Bosque Ardora is, however, a long way from a traditional flamenco show. The stage recreates the forest it takes its title from: a world of trees partly inspired by thedreamscapes of Pina Bausch. The band includes a very untraditional drummer and two trombonists, while Molinaʼs dancing feels at moments like a flamenco Rite of Spring, edged with a feral ferocity that, combined with the animal mask she wears in the prologue, causes one child in the audience to howl with terror. The next day a newspaper diarist claims iconoclasts such as Molina are killing “real flamenco”.