I cannot imagine that partnered dance gets any better than this. With his new production, Tango After Dark – having enjoyed its world premiere, in London, two days’ earlier – Germán Cornejo has created non-stop, slick entertainment, with never a dull moment. I’d have happily missed the last train, for dance this exhilarating!
In Tango After Dark, Cornejo has concocted the perfect (and I don’t use that word, lightly) combination of Astor Piazzolla’s unique Tango Argentinomusic, ten of the best tango dancers in the world, two charismatic singers and an outstanding septet of musicians, marshalled – of course – by Piazzolla’s own instrument of choice, the bandonéon (a type of concertina, as essential to tango as the guitar is to flamenco), played very sensitively by Clemente Carrascal. The melodic sensuality of this Argentine tango, with impossibly fast footwork and stunning lifts, evoked the unique racial and cultural amalgam present in the very best indigenous milongas (such as La Viruta or Porteño y Bailarín). It may have been ice-cold in snowy London but for a couple of hours in the Peacock Theatre it was midnight in steamy Buenos Aires.
Piazzolla’s music accompanies 27 numbers, all but four of which are danced with the choreography coming in a heady mix of duets (two in each act for the headline coupling of Cornejo and Gisella Galeassi and one in each act for their four supporting pairs), plus ensemble dances and some interesting variations, such as a mixed trio in Milonga, an all-male quartet to Bailongo in the first act with the brief reflection of an all-female quartet in the succeeding act.
Unsurprisingly, the most explosive movement came in the featured dancing of Cornejo and Galeassi, the lightning speed and precision of their interspersed legs peppered with a rich variety of lifts, including one-arm presages, and scintillating spins in hold. Both are former tango world champions (although not dancing together) and their passionate, eloquent dancing appears (certainly to my eye, at least) flawless with moments of gasp-out-loud excitement. Cornejo is the kernel of their dance, controlling every movement with nimble feet, elastic legs and immense upper-body strength; Galeassi follows her partner’s lead, matching his speed and rhythm, but the excellence of their dance depends upon her pliancy, plasticity and remaining calmly elegant while being lifted and spun at such velocity. Their excellence in the spotlight did not excuse Cornejo and Galeassi from playing the fifth pair in the group dances, each of which was performed with immaculate and uniform clarity.
The four supporting partnerships comprise a liberal scattering of other tango world champions, including Max Van Voorde and Solange Acosta (pupils of Cornejo). In Revirado and Primavera Porteña, Mariana Balois and Michaela Spina reached a similar pinnacle of electrifying tango that Cornejo and Galeassi attain as a given, but also imbued with a balletic grace. With her blonde hair styled long on one side, short on the other, Hebe Hernandez was an arresting presence, dancing the exciting penultimate tango – Adiós Nonino– with Nicolas Schell; and the most recent world champions (2015), Ezequiel Lopez and Camila Alegre – returning dancers from Tango Fire – performed two ebullient, challenging centrepieces to each act in Zum and Violentango.
The suave, sophisticated vocals of Jesús Hidalgo were another key ingredient, especially in the enigmatic Vuelvo el Sur, a song with emotional significance to all Latin Americans, danced as a sentimental solo by Alegre. Another returning singer was Antonela Cirillo whom definitely won me over.
A rich and varied wardrobe of costumes – all designed by the multi-talented Cornejo – added to the sparkle, not just for the dancers but also for Cirillo (shimmering electric blue) and the enigmatic violinist, Gemma Scalia (a gorgeous gold number).
In Tango After Dark, Cornejo has gone back to the nuevo tango traditions of Piazzolla’s opulent music without the hybrid experimentations of former shows (the Titanic theme song was a particular low) and the result is to fully illustrate the splendid, sensual, imposing extravagance of Argentine Tango at its very best, which – of course – has to be After Dark.
Coming from Argentina, Tango is a passionate and sexy dance. And from Argentina, the International Tango Superstar German Cornejo and his company delivers a wonderful show that makes you feel like if you were in Buenos Aires.
The dance company – 10 – is accompanied by a full band and two very good singers. The movements are executed with perfect timing and speed, flawless.
So: music, dance, passion, grace, drama, intensity… if you like dance, or tango or just something that makes you feel far away from the winter weather, this show is not to be missed!
Sensual, seductive and stylish, Tango After Darkmakes its world premiere in London. It features Tango superstar German Cornejo who leads 10 of the world’s best Argentinean dancers. Accompanying them are two superb singers and seven musicians playing authentic tango music composed by Astor Piazzolla.
The choreography by German Cornejo and Gisela Galeassi is fresh and innovative. The show alternates between group numbers and showcase dances for each couple. All of the dances feature the signature moves of the Argentinean Tango mixed in with stunning aerial stunts and lifts. The impressively speedy footwork is precise and is performed effortlessly. All of the talented dancers perform with passion and technical skill.
There is no storyline or plot during this production. Instead audiences are treated to intricate dances, an authentic band and an array of superb choreography. Whilst the dancing was outstanding; the dancers were all excellent and oozed sex appeal throughout.
The costumes, designed by German Cornejo, were stunning and enhanced the dancer’s movements. Each dance section had a different look and the female dancer’s dresses followed a theme but each dress is slightly different to be individual to the specific dancer – a clever detail. The dresses in particular are exquisite and the men’s suits are also clearly well made and highly stylish.
With a small company of ten dancers every single dancer has to be on top form and they most definitely are. Each movement is performed with grace and ease. The dancers use the entire stage and during the group numbers are completely in sync. The use of chairs and silks during two dance numbers also adds to the variety and dynamics. During this performance however Micaela Spina, Mariano Balois, German Cornejo and Gisela Galeassi really stood out for their passion, fantastic footwork, stunning tricks and visible on stage chemistry.
The on-stage band were fantastic. Similar to the dancers, each member of the band got the chance to shine. The stand out performances came from Gemma Scalia on the violin and Diego Ramos the MD and pianist. The vocals provided by Antonela Cirillo and Jesus Hidalgo are powerful and it is nice to have the songs performed in their native language adding even more of the Latino vibe to the night.
This certainly is a showcase of some of the best Argentinean Tango in the world, let alone London. Any fans of the tango, or in fact dancing at all, will definitely not want to miss out on this spectacle!
It’s not necessarily a bad thing to say that this new show from the Argentine dancer, choreographer and director German Cornejo is formulaic. Featuring five couples, including Cornejo and his partner (and assistant choreographer), Gisela Galeassi, a crack seven-piece band under the direction of the pianist Diego Ramos and two full-throttle singers, the production expertly dishes up much of what tango connoisseurs tend to expect. Two equally slick acts swerve smoothly between duets and ensemble numbers, the occasional heavy-breathing erotic kitsch punctuated by palate-cleansing musical interludes. By the finale and encore I felt I’d been served a full and often quite palatable meal.
The score is wall-to-wall Astor Piazzolla. His music, superbly rendered, lends the dancing an extra drive and sizzle. And what dancing! The men share a look — short hair and beards — that suggests they’ve come out of the same jar, but all are smoulderingly strong partners for women for whom a lush backbend or a leg wrapped with spidery swiftness round a man’s waist are de rigueur. The various couples don’t smile at one another and, in fact, scarcely make eye contact. Evidently sexuality à la tango is a serious business in which magnetic attraction compels bodies to come together.
Luckily these bodies are for the most part stylishly clad. Credit for the costumes — often glittery, fringed or adorned with extra strips or folds of fabric that never obstruct movement — belongs to Cornejo. He and Galeassi project a sleek, almost lethal glamour. They’re capable of spectacular speed, with footwork that might seem crazed but is never imprecise, and also subtlety. Galeassi is especially self-assured even when corkscrewing down Cornejo’s frame and on to the floor.
There are fabulous routines from the others too, including Ezequiel Lopez’s manipulations of Camila Alegre in the aptly named Violentango. In another number he whips her round as if the two are a human fairground ride, as her prehensile legs scissor the air. Also notable is the impossibly long-limbed, pink-tressed Micaela Spina, particularly in a suggestive threesome with Lopez and Nicolas Schell that neatly sidesteps the question of just whose fantasy this is. There’s also a spot of fun for four men, a reminder that tango isn’t strictly an expression of heterosexual desire.
An intimate moment in the passionate excitement of Tango After Dark.
German Cornejo’s show, celebrating – let’s not beat about the bush – the sexual attraction between men and women, plays the Peacock until Saturday. Yes, there’s the usual six-piece onstage band, a couple of singers and virtually no scenery, which is the secret of this unmissable show. Five couples, headed by Cornejo and Gisela Galeassi, do nothing but dance but that is what the whole thing is about.
We start in the standard nightclub setting, but I assure you there is nothing mundane about this show. Tango is serious business in their home town, Buenos Aires, and Cornejo transfers that intensity here.
No silly grins, just a passionate pressure on the women to surrender by the male of the species. What makes this native Argentinian art form so riveting is the women’s stern response, developing a relationship teetering on the edge of an all-out battle but ending in perfect harmony. The thrill is not simply the women’s notorious kicks between the men’s legs, an eyewatering excitement as the dancing notches up in energy. What is clear from Tango After Dark is that the female of the species demands much of her partner – and the result is bliss.
The stern responses of the female dancers make this Argentinian art form so riveting. Most of the women clearly have a classical ballet training. In partnering terms, as I remember from my own experience, the men are the central column of strength from which the women explore their movements.
Micaela Spina, in white silk and black lace, simple but luscious costumes designed by Cornejo, plays cat and mouse with partner Mariano Balois. Hebe Hernandez, blonde hair falling across her face, actually smiles a lot, as do the men and no wonder as they perform overhead lifts and other acrobatic tricks.
Max Van De Voorde and Solange Acosta are elegant while Ezequiel Lopez and Camila Alegre are feisty but it is Cornejo and Galeassi’s show. The show is simply dance, dance and dance again while the amazing pleasure the dancers hand out makes the evening feel it is actually going somewhere. No prizes for guessing where.
In Buenos Aires, German Comejo is a super-famous name. He is king of tango, the dance that embodies the soul of Argentina. Together with his partner Gisela Galeassi, he has won all the prizes and fronted all the talent shows, but as well as being a peerless dancer he is also a major choreographer. As his new show demonstrates, he is taking tango out of its ghetto and giving it a wider, expressive range.
Tango After Dark is a series of 27 numbers accompanied by the music of Astor Piazzolla, superbly played here by a seven-piece ensemble, coloured by the haunting whine of the bandoneon. Five male dancers are dressed in tails, their female partners in slinky evening dress: proud and fierce yet mutually respectful, they smoulder and stretch like wild cats, rubbing up against each other to create a crackle of erotic electricity.
So far, so predictable. But Cornejo takes the mood and the moves further, incorporating balletic lifts and twists that don't feature in the classic tango vocabulary. He also introduces a note of ironic wit - how seriously are we meant to take all this macho strutting and romantic posing? Is it a mating ritual or a formal game, or are the passions on display fo real? At one point, he even breaks with the sacred tradition that tango is always focused on heterosexual seduction - when four men dance together, we enter another territory of relationships.
All the dancers are dazzling, and very different in personality and style. Cornejo and Galeassi have sheer aristocratic elegance and refinement, while former world champions Ezequiel Lopez and Camila Alegre add a lighter, younger ﬂavour to the mix.
It's a mesmerising spectacle - and whatever you do, don't slip out before the curtain calls, because the king of tango has one final trick up his sleeve.
Returning to the Peacock Theatre, Germán Cornejo and his long-term professional dance partner Gisela Galeassi can always be depended upon to provide an exhilarating showcase of the Argentinian Tango.
The couple’s latest show, Tango After Dark, receives its world premiere here. Stripping away any narrative framing device, the emphasis instead is on strong pair dances that illustrate the romantic, passionate and visually striking qualities of the Latin repertoire’s most thrilling dance.
With a seven-piece orchestra under musical director Diego Ramos providing a classic soundscape of an upmarket Buenos Aires milonga, much emphasis is placed upon the sound of the bandoneon, as played by Clemente Carrascal.
And with a dance that is traditionally far more fluid and improvisational than some, sometimes it is hard to notice the technical quality within the routines. Lifts and spins fit so effortlessly into the couples’ routines that one has to be forced to recall that the woman’s feet haven’t touched the floor for quite some time. It is only when the sequence of lifts ends in a spectacular flourish that the craft and care that has been present throughout becomes obvious.
One of the most appealing sides of the Argentine tango is that its multitude of embellishments, from the hooking legs of the gancho to the brief lifts of the sentada and the flourishes of the boleo, can convey so many different meanings based on the pace at which they are performed. Taken slowly, it is a game of seduction; pick up the pace and it is an act of passion, the couple performing in unison for a common goal of consummation.
Of the five couples, it is perhaps not surprising that Cornejo and Galeassi impress so highly. But the four couples with which they share the stage are their equals, with Mariano Balois and Micaela Spina standing out in one of the show’s first partner dances.
But while the couples each get their turn to show off their skills as a pairing, the atmosphere of the milonga would be incomplete without some group numbers as well. Cornejo’s choreography is devoid of the homoeroticism that sometimes fuels the moves of a group of sexually charged men: here, everything masculine performed as a group is done with the sole purpose of attracting a member of the opposite sex. It’s primal, rather than carnal, but also sweet-natured: the epitome of everything that makes the Argentine Tango so watchable.
Vocal performances from Antonela Cirillo and Jesús Hidalgo accentuate the evening’s performances. Were its not for the smoking ban, one could quite imagine sitting at cabaret tables, dancers milling between chairs, the singers’ voices wafting through clouds of pungent cigar smoke.
If there’s one criticism, it may be that previous iterations of Cornejo and Galeassi’s work had more variety of staging and theme. But by focussing in on one environment, and one purpose, Tango After Dark does at the very least express everything that is joyful about experiencing the Argentine.
German Cornejo brings his latest show Tango After Dark to its world premiere at the Peacock Theatre with Saddlers Wells and bring it he did! This show was a sizzling display of Tango – Sharp, Intimate and Intense.
Coming together with the great composer and bandoneon player, Astor Piazolla and mixing it with Corenejo’s choreography this brings a fantastic experience. A bit of imagination and you could be transported to the dancing streets of Buenos Aires.
Live music was given to us by two fantastic singers in Antonela Cirillo and Jesus Hidalgo who simply are amazing!
Seven onstage musicians playing a range of various instruments, they bring to life the music by this great composer. By instrument: Bandonean – Clemente Carraascal, Guitar – Benjamin Ciprian, Double Bass – Tomas Falasca, Drums – Jeronimo Izarrualde, Piano – Diego Ramos, Violin – Gemma Scalia, Keyboard – Ovidio Velazquez
Split into 27 scenes over two acts we see a variety of performances from the 10 strong individual dancers in both pairs and group dances. This is a show that demonstrates everything that its title describes Tango (in its many forms). A set comprising of the stage, the band in full view across the back of the stage and the singers were minimalist however effective. Great use of backlighting and spotlighting led our eyes across and around the stage following the dancers.
Group numbers were impressive, seeing these dancers perform together at the speed and detail had your eyes glued. Sometimes though the problem was deciding which pair in the group you were wanting to watch at any one time.
The show really came into its own though when individual pairs were able to showcase their ability. A lot of these pairs have danced together for a while some through their professional competition careers and other through shows they display the understanding of partners that trust each other immensely.
Being able to see these twists, turns, lifts, spins, the intertwining of legs and flicks performed with this rate of intensity, passion and speed will leave you gobsmacked and truly questioning what you are seeing. Skill. Pure Skill.
The second act showcased the singers and band a little more than the first act, nonetheless impressive. The music led us up and down on this journey of tango, setting the mood. Softening when needed and building intensity as the dancers choreographed accordingly.
So if you like a few steps such as the Castigada, Sanguticho, Colgada or are fans of Argentine Tango amongst others then this is the show for you.
A standing ovation closed the night, with the audience in awe of what they had just witnessed. An amazing production, by an amazing cast.
Well, it’s called Tango After Dark and it’s set in Buenos Aires at night. It fulfils what reasonable expectations there could be of a dance performance from that small amount of information very well. To put it another way, it doesn’t take a genius to work out what sort of show this is. It is possible, at a stretch, to eke out a storyline of sorts from this production, if one really wanted to. But in essence, it’s all about the tango, in its various forms, expressions, and levels of intensity. If you want anything else, please go and see a production that offers whatever it is you’re after, because this show is very focused in what it sets out to achieve.
I assume this is Buenos Aires in whatever passes for winter in Buenos Aires: the men, for the most part, wear jackets as well as shirts, and the women, in their gowns and dresses, could also be mistaken for heading out for the evening in London or any other major city. What sets them all apart, as I say, individually and collectively, is the Argentine tango (or, more properly, ‘tango argentino’) – and there is, thankfully, plenty of it.
This, strictly speaking, is ‘nuevo tango’ in action, which, as I understand it, refers to the sort of music that includes melodies, harmonies and musical instruments that weren’t part of Argentine tango until Astor Piazzolla (1921-1992) came along and shook things up. There’s even such a thing called ‘neotango’, distinct from nuevo tango, much broader and focusing on contemporary music, in any and all forms. That is, of course, for another production at another time.
Here, there’s not much in the way of set, with the lighting creating an appropriate atmosphere time after time. The on-stage band, led by Diego Ramos, were given several moments during proceedings to shine of their own accord, giving both performers and audience a chance to breathe easy and take in the music after seeing some incredibly skilful dancing and movement that was occasionally exhausting to watch.
While the large ensemble dances were very pleasurable, it is in the scenes with only one couple on stage that the production shines brightest. I suspect this is because of the improvisation element of tango dancing that (presumably) comes into play, as opposed to the bigger scenes, where every couple is performing exactly the same moves in exactly the same manner (which is, of course, a spectacle in its own right, especially when the speed and dexterity of the movements is taken into account).
There’s never a dull moment in this show, with a wide variety of tunes in terms of tempo and emotion – there’s a sort of passion that is pleasant, and a sort of passion that is fiery; not angry, but earnest. Both are in evidence in a production that gradually builds to a spectacular finish – the best was saved for last. It’s not like the first half was in any way lacklustre, but those who stayed for Act Two will have found an even greater display of energy and vibrancy.
There are no video projections or special effects, and no attempt to fit a fixed narrative around the musical numbers. It’s just tango, tango and more tango. And it works. A slick, streamlined and somewhat sultry production.
World tango champions German Cornejo and Gisela Galeassi return once more to London for another scorching display of smouldering tango, impressive acrobatics and thrilling set pieces with a cast of ten tango dancers and accomplished live musicians. Tango After Dark is a simple take on night time Buenos Aires, full of crowd pleasing moves to Astor Piazzolla classics, making for his most formidable creation yet.
As the curtain rises, the silhouette of a lone female dancer can be seen. She softly cradles a bandoneon (an instrument Piazzolla famously played) before drifting away. That’s about as much context as is necessary. The following is two hours of show-stopping, exhilarating and dramatic tango, with each couple delivering a bewildering array of lifts and throws, as well as traditional tango steps feauturing choreography so fast and complex it’s hard to fathom.
This production feels like a more sophistecated incarnation of past shows. With music as good as Piazzolla to accompany these world class dancers, you don’t need to add much more. The five couples well chosen, each colouring the choreography with their individual style. Nicolas Schell and Hebe Hernandez are small of stature, but a pair who bring a more graceful and balletic quality to the group numbers, thanks to Hernandez’ classic training, and an elegant dynamic to their own duets. Mariano Balois and Micaela Spina are another stylish addition, with Spina radiating a more dainty and flirtatious character than her sexy counterparts. Her dancing is compact and precise but her sweet partnership with Balois in Revirado is no less enjoyable.
Highest praise must be saved for Cornejo and Galeassi themselves, the eye naturally drawn to their long, toned limbs and Galeassi’s rippling shoulder blades. They provide a tangible sense of anticipation whenever they take to the stage. The couple exude chemistry with their eyes fixed on each other, and their feet compete in a whirlwind of kicks and flicks, their precision never faltering. Sometimes you might just need to remind yourself to breathe.
Their signature moves are no less staggering than before; Galeassi’s effortless flexibility as she extends her leg past her head, the confidence with which Cornejo throws her in the air and suspends her there with one hand wihout the slightest wobble, before returning to hold where they stalk intimately about the stage.
Galeassi’s racy array of costumes is also not to be missed; they include a white ruffled jumpsuit with black corset on top, and a dress that seems to consist of various black leather straps, as well as some more traditional tango wear in crimson and deep blues (all designed by Cornejo himself).
Cornejo and Galeassi are not the only world tango champions on the stage. Ezequiel Lopez and Camila Alegre are similarly impressive in both crispness and charisma. Their routine to the aptly named Violentango is danced with urgency and drama, tha pace of steps gradfually increasing, the footwork getting faster and the throws requiring perfect timing. They share an innate musicality that make them equally appealing performers.
Authentic solos from the show’s two impressive singers, Jesus Hidalgo and Antonela Cirillo, are enjoyable and well-fitting too, as well as allowing both cast and audience space to breathe in between the explosive array of dancing. One should also look out for the brooding all-male quartet danced to “Bailongo”, brimming with masculinity and power.
As we enter peak Strictly Come Dancing withdrawal season, the fiery flicks and ganchos, live band and glittering costumes of Tango After Dark ensures that Cornejo and company are more than capable of relieving any symptoms. The choreography is elegant and well placed in the group numbers, with more daring moments saved for each individual couple to thrill us in this seductive new show.
Tango is as much an exploration as it’s a celebration of sensuality. Its full of sexual tension but also a balancing between our male and female sides. Its music and dance evoke elemental passion and high emotion while at a metaphysical level its as if souls are searching for a higher connection. Tango after dark lives up to this reputation and to the high standards of previous German Cornejo productions of “Flames of Desire” in 2015 and Tanguera in 2017. Like before he serves up an intoxicating mix of eroticism and athleticism bathed in the blue and golden light of a Buenos Aires night.
With its ensemble cast of 10 superb dancers and 7 stage musicians does not disappoint. Compared to “Flames of desire” production which we saw in 2015, “Tango After Dark” is designed to be more spectacular. It has the same heady mix of raw passion and unabashed display of physicality.
The dancing is fast paced with impossible flips and lunges. The angle of the leg flicks seems to defy the laws of physics. The male dancers look introspective almost reluctant while the female dancers seem to be full of thwarted longing or hidden desires. With impeccable footwork they follow each other each posing a counterpoise to the other. The show starts with a fast-paced tempo which is occasionally broken by vocalists Jesus Hidalgo and Antonella Cirillo. The flickering tungsten lamps descending on the top of the stage, a live band playing Piazzola backstage and lightning athletic dancing bodies merging into each other is expected to give the audience a Buenos Aires feeling- a city which never sleeps at night. The dancing is acrobatic but some of the slower pieces with couples dancing” better capture the grace and melancholy of Tango . This particularly true of “Verano Porteno” and the signature “Oblivion. In some of the others athleticism seems to have got the better of the inner poetry.
The male dancers are mostly formally dressed in jackets and trousers even though the jackets may be brocaded in some instances. The women wear long slit gowns and dresses sensuously hugging their svelte bodies. The lighting varies between a neon blue to tungsten yellow but successfully creates the night life ambience of Buenos Aires. The music is of course Piazzola and the live band led by Diego Ramos are given several opportunities not only to improvise but also to come to the limelight. And they live up to the occasion serving up a delightful take on well known Tango numbers. The band also breaks the tedium of watching tango on the trot. They provide welcome breaks between the incredible dance numbers enabling the band to appreciate the dance even better
There’s a wide array of tunes used ranging from fast paced to slow languorous rhythms. The show is a reminder of the spellbinding power that tango is capable of. It’s a breath taking display of tango at its best. It’s a high tempo show where the energy never slackens.
Sadler’s Wells welcomed international tango star Germán Cornejo back to London with his company for the world premiere of his latest production Tango After Dark which was on stage at the iconic Peacock Theatre from Wednesday 28 February – Saturday 17 March 2018, which featured some of the best dancers from the tango houses of Buenos Aires. As the night fell, the music of the great Argentine tango composer, bandoneon player and arranger, Astor Piazzolla, merged with the sophisticated and sensual performance of world- class Argentinean dancers to reveal Tango in its most authentic and pure form. Tango superstar Cornejo, who is widely acclaimed by critics and audiences all over the world as one of the most distinguished tango artists working today, led his outstanding cast of 10 dancers, including his long term dance partner and collaborator Gisela Galeassi in this mesmerising show. Accompanied by two sensational singers and seven musicians playing tango classics, Tango After Dark kept the passion of Tango burning deep into the night. A standing ovation was given by the audiences who were left enchanted and mesmerised by the fantabulous show.
Sensual, seductive and stylish, Tango After Dark makes its world premiere in London. It features Tango superstar German Cornejo who leads 10 of the world’s best Argentinean dancers. Accompanying them are two superb singers and seven musicians playing authentic tango music composed by Astor Piazzolla. The choreography by German Cornejo and Gisela Galeassi is fresh and innovative. The show alternates between group numbers and showcase dances for each couple. All of the dances feature the signature moves of the Argentinean Tango mixed in with stunning aerial stunts and lifts. The impressively speedy footwork is precise and is performed effortlessly. All of the talented dancers perform with passion and technical skill. There is no storyline or plot during this production. Instead audiences are treated to intricate dances, an authentic band and an array of superb choreography. Whilst the dancing was outstanding; the dancers were all excellent and oozed sex appeal throughout.
The costumes, designed by German Cornejo, were stunning and enhanced the dancer’s movements. Each dance section had a different look and the female dancer’s dresses followed a theme but each dress is slightly different to be individual to the specific dancer – a clever detail. The dresses in particular are exquisite and the men’s suits are also clearly well made and highly stylish. With a small company of ten dancers every single dancer has to be on top form and they most definitely are. Each movement is performed with grace and ease. The dancers use the entire stage and during the group numbers are completely in sync. The use of chairs and silks during two dance numbers also adds to the variety and dynamics. During this performance however Micaela Spina, Mariano Balois, German Cornejo and Gisela Galeassi really stood out for their passion, fantastic footwork, stunning tricks and visible on stage chemistry.
The on-stage band were fantastic. Similar to the dancers, each member of the band got the chance to shine. The stand out performances came from Gemma Scalia on the violin and Diego Ramos the MD and pianist. The vocals provided by Antonela Cirillo and Jesus Hidalgo are powerful and it is nice to have the songs performed in their native language adding even more of the Latino vibe to the night. This certainly is a showcase of some of the best Argentinean Tango in the world, let alone London. Any fans of the tango, or in fact dancing at all, will definitely not want to miss out on this spectacle!