The Town Hall Presents | Farruquito

Fri Feb 22 2019

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S AT A P R 2 7 2 0 1 9 • 8 p m

D JANGO A GOGO Stephane Wrembel Presents a Celebration of Guitar Through the Music of

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W ITH S i m b a Bau m g art n e r Ra p ha e l Fays Serge Krief Dav i d Ga s t i n e Lior Krief Ezeckiel Krief T ho r J e n s e n N i c k A nd e r s on Ari Folman Cohen Dav i d L an g lo i s An d s p e c i a l g u e s t s

F r i d a y, F e b r u a r y 2 2 N D , 2 0 1 9 • 8 P M

“One of the greatest flamenco dancers of the new century” – The New York Times “Within moments, he proved that he is one of today’s superlative dance artists…

I’ve never seen any flamenco dancer with such dynamic variety, or one who so connects the macro to the micro… Farruquito dances as if he has every answer at his fingertips... His legs and feet display endless resources… He has surprise, fantasy, glamour, pride and glee.”

- The New York Times

Juan Manuel Fernandez Montoya “Farruquito” | Bailaor Gema Moneo | Bailaora Juan Antonio Fernández Montoya “Barullo” | Bailaor and palmas Antonio Moreno Fernández “Polito” | Bailaor and cajón Ezequiel Montoya Jimenez “El Chanito” | Cantaor Mari Vizarraga | Cantaora Maria Mezcle | Cantaora Yerai Cortés | Guitar Melchor Borja | Bass Guitar and Keyboard Juan Fernández Gálvez “Juan Parrilla” | Flute Manuel Lozano “Lolo” | Percussion Gaspar Leal | Sound Engineer Angel Luis Cascón | Lighting Design Show Order: Soleá Soleá por bulerías Seguidilla Alegría Taranto Zapateo Sevillanas Cover Photo: © Antonia Moreno | Title Page Illustration: © Jaime Massieu

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A L e tt e r f r om th e p r e s i d e nts

Welcome to Town Hall

We are excited to welcome back the sensational Farruquito to Town Hall.

In 2001, Juan Manuel Fernández, known as Farruquito, made his New York debut on our stage. The New York Times said “At 18, Juan Manuel Fernández, known as Farruquito, is already one of the great flamenco dancers of this new century. With the power and purity of his technique and the magic of his brooding presence, he is nothing less than sensational.”

As heir of the legendary Los Farruco dynasty, the first family of Gypsy flamenco dance, Farriquito is regarded as one of the most faithful representatives of flamenco puro. Son of the singer El Moreno and dancer La Farruca, he is the chief proponent of the unique dance style founded by his grandfather, the famed El Farruco. Carrying on that legacy, Farruquito returns to Town Hall.

Speaking of legacies, in 2021, Town Hall will celebrate our Centennial Anniversary. As a fitting tribute to our founders, our part in electrifying the cultural fabric of New York, and our future; The Town Hall Foundation is embarking on a campaign to envision the 21st Century Town Hall. We are taking this opportunity to gather a group of civic minded leaders and individuals to propel the Hall into its second century.

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AB O U T T H E P R O G RA M

Prince and Patriarch of a Gypsy Dynasty, Now Bringing His Own Story to the Stage

Juan Manuel Fernández Montoya – Farruquito -- has been on stage since he was a child.

Born into one of the great dynasties of flamenco, he was 5 years old when from the wings he watched his father, his mother, an aunt, and his legendary grandfather, the great dancer “El Farruco,” perform in Flamenco Puro, the groundbreaking show that brought flamenco to Broadway in 1986. Years later he would talk, still excited, about how he would join at times in the final number.

Since, Farruquito has seemingly enjoyed his greatest triumphs and endured some of his darkest moments under the glare of the public eye — but only now, he suggests, you’ll get to actually know him. And not just as a dancer, choreographer and director but this time, also as a composer and lyricist having written all the music for the show himself.

In his new show, simply titled Farruquito (notably the first time one of his productions carries his name), he is not just the dazzling center of the show but its very subject.

Farruquito debuts in New York City on Friday February 22 at The Town Hall at 8pm. It’s a return to this historic venue by the flamenco star, who made his New York City debut at The Town Hall in 2001 at age 18. The performance is part of Farruquito’s first major tour of North America. * “It’s a summation of the most important moments in my career, the moments that have taught me the most, only that I’m revisiting them with the perspective of how I feel and who I am today,” he noted in a recent conversation. It’s a perspective that also suggests a personal affirmation before the imposing memory of his grandfather, the legendary Antonio Montoya Flores, “El Farruco,” a self-taught dancer who went on to become one of the most influential flamenco figures of his era. @TownHallNYC | 3

AB O U T T H E P R O G RA M “Many people know the story of my family, and the story of my grandfather, El Farruco,” he said. “So some think that watching me dance will be like watching my grandfather dance again. And that´s why I start [in silhouette] dancing my grandfather’s soleá, then I go onstage and do my own version, so people understand that I have my own way of doing things. That’s why I’ve written all the music and the song lyrics for this show and why I dance more freely than ever before: Because I feel I am myself onstage, more fully than ever before.”

That danced conversation between Farruquito and his grandfather, transcending time and even death, suggests a personal twist on the long-running tension in flamenco between innovation and tradition.

“Why do some people associate the essential with the old?” asks Farruquito, whom The New York Times called “one of the greatest flamenco dancers of the new century.” “An essence doesn’t have anything to do with old age or with tradition. An essence is one’s truth. It’s something that doesn’t happen in other genres, but in flamenco, ‘pure flamenco’ is a synonym for old, traditional and basic. Why? Flamenco might be modern and be pure. Purity has to do with the artist’s feelings and how he expresses them.”

Farruquito commands center stage for nearly all of the show, a daunting feat, and surrounds himself with trusted collaborators including female dancer Gema Moneo, singers Mari Vizarraga, Maria Mezcle and Ezekial Montoya Fernández “El Chanito” plus Juan Antonio Fernández Montoya “Barullo” (dance and palmas) and Antonio Moreno Fernández “Polito” (dance and cajón)– all backed by a quartet featuring Yerai Cortés (guitar); Melchor Borja (bass and keyboards); Juan Fernández Gálvez “Juan Parrilla” (flute), and Manuel Lozano “Lolo” (percussion).

Some of the influences in his music are inescapable references in contemporary flamenco such as guitarist Paco de Lucia, the great singer Camarón de la Isla or the flamenco-blues band Pata Negra but also, he adds, “as a kid, I grew up not only listening to Michael Jackson, a personal favorite, but also Aretha Franklin, Nat King Cole, Ray Charles and so many others. And of course I bring their inspiration to flamenco because that’s what I feel, that’s my territory.”

His has been an extraordinary career, distinguished by artistic excellence and achievement — but also scarred by unimaginable tragedy.

He presented his first show at a Madrid theater when he was 8 years old. He was 11 when he appeared on a video of Camarón; and at 13, he appeared on Carlos Saura’s documentary Flamenco Flamenco, dancing with his grandfather. It was a scene that suggested a meeting of flamenco’s history and its future.

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AB O U T T H E P R O G RA M But just two years later, in 1997, El Farruco unexpectedly died. At 15, Farruquito found himself the repository of not only a dance tradition but also his grandfather’s legacy. The future was now. Then, in 2001, adding to the family’s woes and his own personal burden, Farruquito’s father, the cantaor Juan Fernández Flores, “El Moreno,” died of a heart attack on stage, in Farruquito’s arms, during a performance in Buenos Aires, Argentina.

Some of these events are portrayed in the show – the family around the kitchen table, a performance at the tablao, a pause for romance and there’s a striking scene, featuring Farruquito and two other male dancers holding canes, charged with tension.

“That represents the moment after Farruco was gone, and my father was gone, and I became the head of the family,” he said somberly. “So I call on the other men in my family, my uncles, my brothers, my cousin, and together we weather the storm that is tormenting us. At one point it looks like, out of desperation, we are going to fight each other, but that’s not the case. What we do is actually come together. We wanted to take care of the family, fight for the family.”

In Farruquito, the dancer reaffirms his place as both prince and patriarch of the dynasty, embracing the tradition as he continues to reshape it.

“I want people to leave the theater feeling that they have heard something true,” he said. “I want people to feel how much we love our profession, this art form, our culture, and how much we want to share with them its essence and its truth.”

Photo: © Jaime Massieu

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S o b r e e l p r og r a m a Juan Manuel Fernández Montoya, Farruquito, ha estado sobre un escenario desde niño.

Nacido en el seno de una de las grandes dinastías del flamenco, tenía 5 años cuando, entre bastidores, observaba a su padre, su madre, una tía y a su abuelo, el legendario bailaor “El Farruco”, en Flamenco Puro, (1986) una producción que hizo época trayendo el flamenco a Broadway. Años más tarde, Farruquito contaría, todavía entusiasmado, como en algunas ocasiones participaba del número final.

Desde entonces, Farruquito parece haber disfrutados sus grandes triunfos, así como también sobrellevado sus peores momentos, en público. Y sin embargo, él sugiere que ahora reamente lo conocerán, no solo como bailaor y director, pero esta vez, también como compositor y autor de las letras en su nuevo espectáculo.

Llamado simplemente Farruquito (la primera vez que una de sus producciones lleva su nombre), él no sólo es el brillante centro del show pero su tema principal.

Farruquito será presentado en The Town Hall en Nueva York el viernes 22 de febrero, a las 8 p.m. La presentación es parte de la primera gran gira de Farruquito por Norte América.

“Es la suma de los momentos más importantes de mi carrera, los que me han enseñado más, solo que ahora los estoy mirando desde la perspectiva de que quién soy y como me siento hoy” comentó en una conversación reciente. Es una perspectiva que también sugiere una afirmación personal ante la imponente memoria de su abuelo, el legendario Antonio Montoya Flores, “El Farruco”, un bailaor autodidacta reconocido como una de las figuras más influyentes del baile flamenco.

“Mucha gente conoce la historia de mi familia y de mi abuelo Farruco”, dice. “Y hay quien cree que viéndome bailar a mi será como ver bailar a mi abuelo. Es por eso que empiezo el espectáculo [en silueta en el telón de fondo] bailando la soleá de mi abuelo, y luego bajo al escenario y hago mi propia versión, así la gente ve que tengo mi propia manera de bailar. Es por eso también que para esto he escrito la música y las letras y porqué bailo más libremente que antes: Porque me siento yo mismo en el escenario más que nunca”.

Esa conversación bailada entre Farruquito y su abuelo, trascendiendo el tiempo y la muerte, sugiere una versión familiar de la vieja tensión en flamenco entre innovación y tradición. “¿Porqué alguna gente asocia lo esencial con lo viejo?” pregunta Farruquito, a quien The New York Times llamó “uno de los más grandes bailarines de flamenco de este siglo”. “La esencia no tiene porqué ver con la edad o la 6 | @TownHallNYC

S o b r e e l p r og r a m a tradición. La esencia es la verdad de uno. Esa [crítica] no es algo que pasa en otros géneros, pero en flamenco, ‘flamenco puro’ es sinónimo con viejo, tradicional y básico. ¿Porqué? Flamenco puede ser puro y moderno. La pureza tiene que ver con las emociones del artista y como las expresa”.

Farruquito está en escena por casi la entera duración del show, un logro agotador, pero también se rodea de colaboradores de primera línea con quienes ya ha trabajado tales como la bailaora Gema Moneo, las cantaoras Mari Vizarraga, María Mezcle y Antonio Villar; Juan Antonio Fernández Montoya (Barullo) baile y palmas y Antonio Moreno Fernández (Politoo), baile y cajón– y un cuarteto conformado por Yerai Cortés, guitarra; Melchor Borja, bajo y teclados; Juan Fernández Gálvez (Juan Parrilla) flauta, y Manuel Lozan (Lolo), percusión.

Algunas influencias en su música son comunes en el flamenco de hoy tales como el guitarrista Paco de Lucía, el cantaor Camarón de la Isla o la banda de flamenco-blues Pata Negra pero, agrega Farruquito, “de niño yo crecí no solamente escuchando a Michael Jackson, uno de mis favoritos, pero también Aretha Franklin, Nat King Cole, Ray Charles y tantos otros y por supuesto, lo traigo al flamenco porque ese es mi territorio”.

La suya ha sido una extraordinaria carrera, distinguida por extraordinarios logros y excelencia artística — pero también marcada por inimaginables tragedias.

Presentó su primer espectáculo en un teatro de Madrid a los ocho años, y tenía sólo 11 cuando participó de un video del gran Camarón. A los 13, tomó parte del documental Flamenco Flamenco de Carlos Saura, en el cual bailó con su abuelo. La escena sugería el encuentro de la tradición y el futuro del flamenco.

Pero apenas dos años más tarde, en 1997, El Farruco inesperadamente murió. Con 15 años Photo: © Antonia Moreno

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S o b r e e l p r og r a m a Farruquito se encontró siendo no sólo el depositario de toda una tradición sino también del legado de su abuelo. El futuro había llegado ya. Y en 2001, para agregar a la tragedia familiar y su carga personal, su padre, el cantaor Juan Fernández Flores, “El Moreno,” murió de un ataque al corazón en sus brazos, durante una actuación en Buenos Aires, Argentina.

Algunos de estos eventos son reflejados en el espectáculo – la familia alrededor de la mesa de la cocina, un espectáculo en el tablao, un momento para el amor – y hay una escena especialmente llamativa y cargada de tensión, con Farruquito y otros dos bailaores, todos sosteniendo bastones.

“Esa escena representa el momento después de que Farruco se había ido, mi padre se había ido, y yo tuve que hacerme cargo de la familia”, dice en tono sombrío. “Entonces a quién acudo a los hombres de mi casa que pueden ser mis tíos, mis hermanos mi primo y ahí entre todos soportamos esa tormenta que nos atormenta […] y en un momento dado parece que nos vamos a pelear porque tenemos una desesperación pero que lo único que hacemos es estrechar los bastones arriba clamar al cielo y dejarlos caer. [La idea] siempre es intentar llevar a la familia pa’lante, luchamos por la familia”.

En Farruquito, el bailarín reafirma su lugar como príncipe y patriarca de la dinastía, abrazando la tradición mientras continúa remodelándola.

“Quiero que la gente se vaya del teatro pensando que han visto algo de flamenco, algo de verdad, que han visto desnudar un corazón”, dijo Farruquito.

“Quiero que se vayan con la sensación de que nosotros somos enamorados de nuestra profesión de nuestra música de nuestro arte y conocemos la cultura y queremos compartir la esencia y la verdad de nuestra cultura”.

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Photo: © Mathhew Bledsoe

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