Brazilian Companies In New York
NEW YORK (AP) _ ″Oba Oba,″ with its Brazilian entertainment, and the Black Swan Dance Company, with Brazilian dance and guest dancer Fernando Bujones, opened in New York the same night.
″Oba, Oba,″ at Broadway’s Ambassador Theater, looks exactly like a show an American would expect to find at a Rio de Janeiro nightclub catering to tourists. One would expect to be exhilarated, and the performance here Tuesday night was surprisingly delightful.
Costumes, dancing and musicians look like Mardi Gras on stage.
Before Act 1 ended with a tribute to Carmen Miranda, one already had thought of her flamboyance.
″Oba, Oba″ is more than cheerful. Its 50 or so performers exude an infectious spirit of joyfulness.
References to slaves fighting and African religions in Act 2 lead up to athletic and exotic dances, strictly entertaining, not seriously ethnic.
In some dances, women wore tops and dance belts - backless bikinis. Because their manner wasn’t naughty, it seemed simply another costume.
Singing star Eliana Estevao has a beautiful voice.
A limited engagement for ″Oba, Oba″ has been announced.
At the City Center, the 10-year-old Black Swan Dance Company, from Sao Paulo, Brazil, opened for a week.
Guest star Fernando Bujones is still the exciting dancer with dazzling technique he was when seen regularly here in American Ballet Theater.
His partner Tuesday in two pas de deux was beguiling, petite Yoko Morishita of Hiroshima, Japan.
The program, over-long, included two folk dance numbers, an undistinguished pas de deux for Ana Botafogo and Laudiney Delgado, and two unusual character ballets.
In the first ballet, ″Who Are You?″, Vitorio Casarim, has a dalliance in dance with a fiery woman, then with a demure one, and winds up in a clinch with a man in a black cloak we had thought until then was a priest.
A more successful dance is based on Sartre’s ″No Exit.″ Julio Lopes choreographs erotic solo dancing and some nudity. Each one of a trio condemned to share a room in hell tries to entice the one he or she fancies, but that one always yearns for the third party. Even a twitch from the third person can undo the seductive effect the first person begins to have on the second.