Music and Dance Reviews : Jose Molina Troupe at the Ambassador

Jose Molina founded his Bailes Espanoles troupe in 1962. Before that, he spent five years as Jose Greco’s lead dancer. Judging from his dancing with his company Saturday at Ambassador Auditorium, one might assume that Molina has found the fountain of youth.

Molina remains a lean, lissome dancer. He uses his long, supple arms and hands to frame footwork that is light and fast. He can turn on a dime, shoot out his arms in matador challenges and end with explosive bursts of footwork. He is still a dancer of considerable technical accomplishment.

He can also project a warm and appealing personality. Not for him, the brooding, disdainful arrogance considered de rigueur by many Spanish male dancers.

Indeed, Molina allowed himself considerable spontaneity when encouraging musicians and other dancers. In one of the high points of the “Cuadro Flamenco” sequence, for instance, he led the company in punctuating a lighthearted popular song with choruses of intricate clapping. The pleasure they all took in the complex rhythmic give-and-take was infectious.

Molina generally reveled in flutterly, soft, close-to-the-floor footwork, particularly in his “Tangos de Malaga” solo in the flamenco segment and in his earlier Farruca.

Yet neither he nor the three other dancers of the company projected much sense of duende or the hidden soul of flamenco. The dancing was bright, theatricalized, lacking in revealed personality.

Still, the other dancers had more opportunity to shine in the solos of the “Cuadro Flamenco” segment than they did in the earlier group pieces (to taped orchestral accompaniment).

Ester Suarez generated the most excitement in her “Garrotin” solo, combining a sensual, arched torso with punchy, rapid footwork. Ana Mercedes ventured sharp heel work and bursts of energetic turns in “Guajiras.” Susana Aranda danced strongly.

Guitarists Jose Maria Moreno and Carlos Rubio provided expert accompaniment. Dominico Caro was the singer.