While Chaignaud takes the starring role, he has an accompaniment of four onstage musicians who
play a combination of bandoneon, viola da gamba, baroque guitar, theorbo and historical percussion.

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Their contribution is, for me, the best part of the  performance: subtle, varied in mood and age from centuries-old folk traditions and baroque to Astor Piazzolla, to a composition from 2013.

A fascinating essay by Chaignaud and Nino Laisne, the show’s co-creator and music director, is a valuable feature of the free program, which is bilingual in English and Spanish. I wish I could have been more sympathetic to the style and approach of the central figure.

Chaignaud is conspicuously athletic, with phenomenal muscular control and a particular ability to stand on one leg while contorting the rest of his body in all directions – something he demonstrated a number of times.

Alas, his movement is more posturing than dancing, despite its interesting references to various
Spanish dance forms, including flamenco and the ancient, richly meaningful stilt dance.
But the music is memorable and the staging simple yet evocative: four large panels echoing the
forest glades and animals of the baroque era, gradually raised to reveal more as the performance
progresses.

Until January 26



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