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Published: Sep. 27, 2009, 2:54 p.m.  By Michael Huebner     

at the Levite Jewish Community Center  

Repeats Sunday at 2 p.m.  

By definition, flamenco encompasses dance, drama and music. With “El Amor Brujo” (“Love, the Magician”),   the Birmingham troupe Corazon Flamenco has stayed true to the genre's multi-genre, Andalusian roots.  

Led by its talented director, Irene Rimer, the company made an impressive showing Saturday at Levite Jewish Community Center with this tale of steamy romance, murder and ghostly apparitions.  Based roughly on the ballet of the same title by Manuel de Falla, it contains snatches of recorded orchestral music and narrative dialogue to push the action along. Rimer's brilliant choreography served the drama well, but spoken exchanges were weak. Scenes such as Jose's murder and a meeting with a witch were stilted and needed more coaching. They were rescued only by the dance numbers that followed. Scene changes, some with awkward silence and darkness, needed tightening.  

Guitarist and singer Marija Temo impressed on several occasions as she heightened the action and filled interludes. A classical guitarist and orchestral soloist as well as a flamenco expert, Temo possesses immaculate technique and an expressive, penetrating voice. Her accompaniments of Rimer's dance solos were the most memorable parts of the show. Guitarist Tony Arnold, also a paleontology professor at Florida State University, contributed some beautiful solos and duets.  Like classical ballet, flamenco is mostly about dance. Rimer's choreographic vision thrives on the frenetic stomping and complex heel-to-toe rhythms that drive this centuries-old art form. Ensemble numbers carried out by her well-trained troupe generated a whirlwind of flowing colorful costumes and coordinated movements. Solo numbers, especially those by Rimer and Julia Quijano, combined passion with spectacle. Fine performances were also turned by Carlos Lencina, as Jose, and Cole Companion, as Carmelo.  

Together with last year's production of “Blood Wedding” and “El Amor Brujo,” Corazon Flamenco has staged two ballets that filmmaker Carlos Saura tackled in his trilogy of flamenco-inspired dance films. Only “Carmen” remains. If the company is so inclined, it would be a welcome completion of the cycle.

In a hidden alley off Cobb Lane, the quaint, brick-paved path in Birmingham's Southside, thick heels pound in rhythm on a wood floor. Fingers snap and castanets click to the bold strumming of an acoustic guitar and an occasional ecstatic yelp. 

Flamenco, the multi-disciplinary art form from southern Spain believed to have originated with wandering Gypsies, has found a home -- again -- in Birmingham. 

Irene Rimer, founder and director of the 15-member dance troupe, Corazon Flamenco, arrived in the Magic City a little more than a year ago to establish a studio -- Dance Essentials -- leaving behind 500 students in Miami. 

Settling here with her husband and children, Rimer brought an extensive resume and a chance to start a performing ensemble -- something that wasn't possible for her in Miami. 

  "I could never do something like this," explained the petite dancer in a quick, staccato Spanish accent. "The culture is a little different. Even though there are more Hispanics in Miami, it's more geared toward Latin culture. To put together a company of people who are so committed to flamenco -- that's what's happening here."  Born in Venezuela, Rimer moved to Spain at an early age and quickly embraced the heritage of her mother and grandfather. With a firm grounding in classical ballet, at age 13 she became a solo touring dancer with Jose Serrano Classic Spanish Dance. 

One of her teachers, Maria Magdalena, gave her the stage name, "La Chata."  "It means someone with a cute nose," she said. "My dad is Israeli -- that's my Jewish nose, my family seal."  Rimer traveled extensively, performing and studying in Europe, Morocco, Venezuela and the United States before moving to Miami in 1985. In 1991, she earned a black belt in Tae Kwon Do, studying with Grand Master Jhoon Rhee.  Her father, a bullfighter associated with Cesar and Curro Giron, introduced her to flamenco at an early age.  "He's a flamenco aficionado," she said. "He was a matador, but he became an attorney after awhile because he got poked by one of the bulls. He's coming to the show. I was just in Spain and he booked the trip."  

Garcia Lorca Classic  The show is "Blood Wedding," the 1932 tragedy by Federico Garcia Lorca. Based on a true story about a bride who is swept away on her wedding day by Leonardo, a former lover, the show combines dance, theater and music. Rimer has created the choreography and will portray the bride Saturday at WorkPlay. Manolo Vargas, a flamenco guitarist from Seville, Spain, will be a guest artist, and local actor and fledgling flamenco dancer Carlos Lencina, will play Leonardo. Todd Ponder portrays the bride's father.  Lencina, a financial analyst and native Spaniard who has acted in several plays in Birmingham, used to dance "fake" flamenco at social gatherings, but took it up seriously after meeting Rimer.  "When I saw Irene and her talent, I knew right away I couldn't fake it," Lencina said. "I started taking her classes and doing traditional flamenco steps."  Much of Lencina's movement -- and Rimer's ensemble choreography -- will incorporate Sevillana, an Andalusian folk dance, as well as flamenco. But getting across the intense emotions of "Blood Wedding" requires more.  "We have 30 in the cast, including musicians," Rimer said. "We're doing paso doble and a couple of classic numbers, one with castanets, and, of course, flamenco. We're singing cantas as well. It won't be monotonous."  

 Culturally, this needed to happen in the city."  More than an art form, flamenco is a good outlet for dancers, Rimer says.  I'm so happy with the group that came," she said. "They felt like they were left, and they have come up to a different level. The people who have joined from the outside are amazing. 

Flamenco is very, very deep. In a world where people are under so much stress, it's a healthy and fulfilling way of expressing feelings. I have a lot of happy people here."  Michael Huebner covers fine arts and classical music for The Birmingham News. 

Flamenco, its influences, spectacle and origins, were center stage Saturday at Virginia Samford Theatre, as Corazon Flamenco traced "The Art of the Gypsies." 

Company director Irene Rimer gathered family, friends and artists from Birmingham and far beyond to tell the story of the art form that has consumed so much of her life. As the program's title, "Universal Flamenco," suggested, the dance and music that originated in 18th century Andalusia has evolved to become the world's property. The titled also mirrored Rimer's recently published method book on the subject, which was dedicated to her father, who was in attendance.  

Universal Flamenco: The Art of the Gypsies" With Tango Elegante, Devyani Dance Company, Aziza of Birmingham, guest artists.    Saturday, Virginia Samford Theatre  To illustrate in dance, the program started out with Tango Elegante, a group of five couples dipping, sliding, backbending and turning to the syncopations of Argentine tango music. Connecting to Flamenco's Middle Eastern origins, belly dancers from  Devyani Dance Company bared midriffs and swayed sensually while clanging hand percussion in rhythm. Eight members of Aziza of Birmingham; twirling bright shawls, captured the joy of belly dance in formation. Each brought similarity and contrast to modern flamenco.  The main show unfolded as a two-part catalog of flamenco music and dance – Sevillanas, Farruca, Alegrias, Siguiriyas and the like. Most of the virtuosity came in the second part. Exquisite guitar solos from Roberto Verdi and Tony Arnold were interspersed among Spanish songs, sung by Antonio Cabello, Lucia, of Valdemar and Lucia, and Rimer herself. 

Among the standouts were Cathy de Sol's “Solea,” a pounding tour de force done in a bright red gown, the dancer's stern looks and lightning-speed heel-to-toe rhythms reaching to the essence of flamenco dance. Rimer's “Tientos” matched de Sol's virtuosity stomp for stomp, movement for movement, making clear the loyalty she has garnered in her seven years as Corazon Flamenco's leader. But flamenco isn't all stomping and attitude. Juan Torres displayed grand lyricism and elegance in a classic “Alegrias.” Victoria Langdon's demure demeanor turned to fancy footwork in the Cuban “Guajiras,” an example of flamenco diaspora.  

The quick-paced “Bulerias,” danced by the entire ensemble, brought the concerto to a rousing, uplifting close.  Flamenco's rich history, technique, diaspora and beauty were vividly displayed at this event. 

Rimer's efforts have added vibrancy to Birmingham's growing cultural diversity, and she should be applauded for that.