One month ago, my thINKingDANCE colleague Caedra Scott-Flaherty covered a digital screening of Flamencodanza as part of Philadelphia Fringe. So why do it again?
Location, location, location.
Flaherty writes, “The energy of live performance is inevitably dulled when viewed on a screen. Would Flamencodanza be better in person? Of course.”
When given the chance to see Flamencodanza live–contextualized in a smaller Fringe venue and city–I took the opportunity to test Scott-Flaherty’s assertion for myself.
Flamencodanza–the name represents both the show and ensemble–is comprised of dancer Aylin Bayaz and guitarist Raul Mannola. The duo shared their work at the Shakes Space during the ten-day Scranton Fringe Festival. The festival’s digital program touts: “THEATRE. MUSIC. ART. FILM.”
I’d like to add, DANCE.
Flamencodanza’s presence within the landscape of Scranton Fringe was distinct and welcome. Bayaz and Mannola’s individual areas of expertise were exquisite and evident. Mannola is a skilled guitarist: his solo musical pieces were wedged between each dance number, playing for a prolonged and impressive duration. And Bayaz’s control and prowess as a dancer was a pleasure to watch through each piece.
As she strode forward, Bayaz immediately commanded the sparsely-lit stage. A veteran performer, she directly met the blinking eyes in the dark audience with her own self-assured, joyous gaze. Each time she parted the black curtains to begin a new dance, she wore a different costume: A royal blue satin dress. A golden-tapestried shawl with tassels. A pleated, tailored floral skirt. Plunging necklines. Dangling earrings. Slicked-back chignons. In a few costumes, her upper back showed; when she turned, her finely-tuned muscularity on full display, you could slide a credit card between her shoulder blades.
I looked around at the audience: what if some had never seen Flamenco before? After all, this was the sole dance performance in the festival. I noted the looks of awe, the slack-jawed mouths, the nodding of heads and tapping of feet.
Mannola lifted his fingers from the guitar and opened his mouth: “It is very nice to be here…this is our first time in Scranton…we didn’t even know it existed…very nice, peaceful.” A lone stage light casted shadows on his face. We’re glad you’re here, too, the audience responded non-verbally: they leaned forward in their chairs and inclined their heads, curious for more.
Bayaz delivered. Fast spirals. Whipping fabric. Twirled wrists, proud shoulders, a lifted heart. Triumphant and resilient. At times, the guitar stopped and Bayaz’s feet shuffled and tapped alone; the rapid bumbumbumbumbumbum of her shoes sent a tiny tremor through the compact black box theatre.
What might a performance like this mean for a city that’s small enough to fit into Philly twenty-some times? Having live flamenco, in Scranton, in the 2025 Fringe Festival, was a distinct and vibrant singularity in the festival lineup. Next year, I hope dance returns to the Scranton Fringe Festival, wherever and however possible.
Flamencodanza, Scranton Fringe Festival, October 3-5, Shakes Space, Scranton
Homepage Image Description: Dancer Aylin Bayaz looks directly into the camera as she lifts one arm above her hand, holding onto the golden tasseled bottom fabric of her dress. Her black hair is slicked back. She looks both triumphant and joyful.
Article Image Description: Dancer Aylin Bayaz looks down to the left, while lifting one arm above her head. She wears black flamenco shoes and her black hair is slicked back. The guitarist, Raul Mannola, sits to the side, strumming his guitar in a soft golden light.
