Flamenco, one of the most exciting of all dance forms, exercised its seductive charms over an enthusiastic audience at City Hall last night. Seductive, because the Maria Benitez company had to woo their spectators who, initially, at least, seemed slightly bemused by the rise and fall of staccato rhythms, the stamping, the sonorous sounds of the guitars, the soulful songs. They were soon won over, however, and happily cheering these fine artists by the end of the evening.

Traditional Spanish dance was born, centuries ago, in the gypsy caves and cafes of Andalucia; the strong Moorish and Arabian element makes an irresistible combination of sinuous grace and overtly sexual strength. Over the years, pioneering dancers such as La Argentina, Carmen Amaya and the great Antonio, have taken the art of flamenco into the theatres of the world. In the US, it has been Maria Benitez who has kept the Spanish tradition alive. She has also overcome the considerable problem of maintaining the excitement of the improvisational format of the folk dances by supplementing the repertoire with commissioned works by leading Spanish and American choreographers which nevertheless, always maintain the core rhythms of flamenco .

The opening was traditional enough -- in Formas E Imagenes, with singer and guitarists seated onstage evoking the essential cafe atmosphere for the dancers as they each took their always competitive turn on centre stage. It comes as something of a surprise to realise that flamenco is, in fact, so earthbound; pounding into the floor rather than bouncing off it, the stamping feet trace rhythms in counter-time and even counter-counter-time that are ever more furious as the proud backs arch, and the skirts swirl.

Maria Benitez is an artist of considerable presence. In Reflexiones, which she choreographed herself, her movements were almost lyrically enigmatic, while in the major work, Aires de Silencio, by Joaquin Ruiz, her dramatic intensity was reminiscent of Martha Graham. She takes on the punishing footwork of the traditional dance, however, most notably in the climactic Seguiriyas in the second half of the programme.

Benitez has surrounded herself with a small, but highly professional company.

Monica, who began performing at the age of 15 in Madrid, possesses a formidable technique, exploited to the hilt in her own Aglegrias, and in the intricate counter-rhythms of her duet with Ramona Garduno, Tientos Y Tangos.

Looking every inch the romantic gypsy, with a fine head of frequently-tossed hair, and superbly classical carriage, it was Martin Santangelo's turn to submit to the goading calls of the guitarists in a stylish flamenco dance called the Solea, where he was joined by Romana Garduno as the dance reached its fiery, yet always controlled momentum.

Perhaps the most technically thrilling solo of the evening belonged to Bruno Argenta, a dancer of magnificent speed whose intricate footwork in a zapateado heel and toe sequence in his Alegrias, brought the first admiring cheers from the audience.

In the finale, even the instrumentalists got into the Terpsechorean spirit of the thing, stepping forward to dance spirited solos. Both Andalucian singer Manolo Segura and Malaga-born guitarist `Chuscales' Fajardo are internationally acclaimed artists in their own right, who undoubtedly enhance the authentically Spanish aura of this Santa Fe-based company.

For those of us who remember the `glory days' of Antonio, the clicking of castanets were conspicuously absent, as were the lace fans and the opulently frilled dresses of old Andalucia. All in all, though, Maria Benitez has preserved the essence of Spanish dance and, at the same time, brought about a seamless union with the contemporary world of dance. That's quite an achievement.

PATRICIA CALNAN.

FLAMENCO FIESTA -- Maria Benitez and her Teatro Flamenco brought the fiery rhythms of southern Spain to City Hall last night. Their Bermuda Festival appearance continues through Thursday evening.

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