Theater Review: Flora’s Dance

Directed by Avital Drori. Tzavta, March 13

Flora's Dance 370 (photo credit: Yohan Segev)
Flora's Dance 370
(photo credit: Yohan Segev)
Flora’s Dance is billed as adult puppet theater and at its heart is the story of an abusive marriage – a dark tale, tenderly and sometimes powerfully performed.
Flora is an old woman puppet skillfully manipulated by three actress/puppeteers: Yifat Weiner, Moriah Ben-Avot and Orit Leibowitz- Novitch.
Every year, Flora, in her youth a flamenco dancer, comes to tend her husband’s grave.
She brings with her a new rose and in her basket there is a flagon of wine and two glasses. As she carefully cleans the grave of a year’s debris, pours and drinks the wine, she recalls the past on Ya’ara Zadok’s set of the grave and a rose-petal-strewn surrounding.
The rose petals are symbols both for romance and blood.
The three actresses, each in her turn, reprise the courtship, the marriage and its ending, but Flora has the surprising last word.
There are no actual words. In our noisy world, absence of language sometimes speaks out more plainly. So it is here. The actresses tell the story with their bodies, backed by Boris Martzionovki’s soundtrack of mostly flamenco music – played too loudly for Tzavta 2’s small space.
Flora’s Dance is basically a 30-minute tale that has been stretched beyond its capacity so that what should be taut and passionate, like flamenco itself, becomes slack at times.
Some cutting would make the piece the little jewel it could be.