LONDON 2009
Steamy scenes at the café
Earlier in the week, I thought it was quite enough excitement for one day when I read the headline (in the Philadelphia Daily News) “Twin gay-porn stars arrested in rooftop burglaries”. But I had forgotten that Tango Fire was opening that same Tuesday evening, and I can now report that it has its own particular and peculiar excitements – though without twins. Here is the tango elaborated, galvanised, given a gymnastic makeover, as we recall from the troupe’s previous visit.
A sense of understated virtuosity is at a premium in ‘Tango Fire’
It is, I find, slightly more vehement than heretofore, more inclined to tricks usually associated with skaters in what they sunnily call “ice-dancing” – the rink as gymnasium. The setting is the basic and inoffensive Café Tango. The lovely women’s dresses seem more exiguous than before, and slightly more blatant but in no way more “sexy”; your teenage boy may get ideas. The men are outfitted according to Argentine tailoring (double-breasted, or four-button single, extra ticket-pocketed, is not unusual), brilliantined, brooding, but have largely and unhappily abandoned patent leather shoes for what look like trainers with ideas au dessus de leur gare. And the tango goes through its many permutations, spreading itself abroad with rather won-the-lottery bravado, yet ever confrontational in its eroticism.
The basic verve and the mercurial flash of legs, kicking and slicing, twisting, just missing vital bits of one’s partner, are still wonderfully there. But acrobatic lifts, predictable final poses, some “artistic” moments, are also on display, and seem to weigh down the natural elegance and vivacity of the five gifted couples involved, turning them into apache dancers. The sophistication of means, the sense of understated virtuosity, that we have seen with Tango por dos and Miguel Angel Zotto, is at a premium.
The marvel of the evening is the accompaniment provided by Quatrotango, four virtuosi of piano, bandoneon, violin and cello. In their playing, and it is gloriously varied, grandly assured and superbly inventive in a couple of solos, the tango lives, blazes, tears at the heart with its sentiments and its unfailing rhythmic strength. Must be heard!
Financial Times
March 19 2009
Tango with Extra Fizz
Agility, athleticism and antipathy on stage at Sadler’s Wells
Half an hour with a tango troupe and you find yourself itching to emigrate to their polished pinstriped planet, where every girl has a heel fetish and every man owns a trouser press. Tango Fire returned to London last week with five couples who sizzled smoothly through 27 numbers in a thoroughly enjoyable two-hour show.
Sadler’s Well’s long, steamy love affair with the tango predates the current craze for all things ballroom, but the “Strictly” effect does no harm at the box office, and the Peacock – the Well’s slightly tarty sister theatre in the West End – was packed with wannabes. Several punters spent last Friday night’s interval practising some of the moves, but Tango Fire’s couples specialise in hyper-athletic lifts and throws that should definitely not be tried at home.
Not content with elaborating the standard tango figures, they seemed determined to include as many acrobatic stunts as possible. The audience giggled with delight as dark, handsome men spun women above their brilliantined heads or manhandled them around and across their bodies like conjurors tumbling coins across their knuckles.
It’s all huge fun but the emphasis on youth and agility does become ever so slightly monotonous after an hour or so.
Part of the charm of Claudio Segovia and Hector Orezzoli’s groundbreaking 1985 production Tango Argentino was the way it matched lithe, leggy vamps with portly pinstriped gentlemen, perpetuating the illusion that we were wallflowers at a dance hall rather than clients at a floorshow.
Any variety and spontaneity missing from the hoofers was supplied by the sensational Quatrotango, Gabriel Clener’s hip, young quartet of piano, bandoneon, cello and violin (every one a virtuoso). The foursome hijack once familiar tunes and take them for a crazy, thrill-seeking ride.
Bandoneon virtuoso Hugo Satorre coaxes sound from his machine with the furious concentration of a jazzman deep in his groove. The tempi of standards like La Cumpasita and Astor Piazzolla’s Otono Porteno are so comprehensively broken down they become almost unrecognisable, until Clenar magically allows the melody to pull itself back into shape like the pleats on a bandoneon.
SUNDAY TELEGRAPH
29 MARCH 2009
It may well have recused UK ballroom from the hand-sewn-sequin circuit, but Strictly Come Dancing still smacks, limply, of a gentlemen’s excuse-me. The closest its hoofers get to the red lights of Buenos Aires - birthplace of the tango – is developing snaps of waltzing Rotarians. But, then, the real deal would be wasted on TV. Because it’s not enough to just watch it: your total immersion is critical, something this exquiste Argentine production knows all about. There’s no “history of_” narrative, just 10 dancers, a singer, and a four-piece orchestra who trace the tango from its slum origins to modern shows of near-balletic complexity by simply giving themselves to it. Of course, it all comes down to a man and a woman, virtuoso lovers who have bartered the mechanics of mere sex for a more penetrating intimacy – and Tango Fire leaves you burning to take up where they left off.
The London Paper
19 March 2009
USA 2009
'Tango Fire' at Walt Disney Concert Hall
After-dark prowlers of Buenos Aires know you can find two types of tango shows in that elegantly frayed metropolis. For casual tourists, there are smoothly efficient, slightly kitschy spectacles filled with plenty of slit skirts and slashing stiletto heels.
For the cognoscenti and the local porteños, there are more sophisticated, out-of-the-way venues where you can savor the music and the mildly disreputable ambience as well as the feral intensity of the dancing.
It’s the difference between tango as a melancholic museum piece and tango as a dynamic living art form that continues to evolve, more than a century after its birth in the city’s proletarian dives.
That division roughly characterizes the contrast between the first and second halves of “Tango Fire,” the handsome, ferociously performed touring show that slinked into Walt Disney Concert Hall for one night Sunday.
The first half is predictably set in a mock-up of a late 1940s or ’50s cafe, with couples arrayed around tables trading smoldering glances and breaking into muscular strutting. There’s a lot of distracting melodrama in the staging, with the women seething feigned jealousy and the men engaging in a parody of macho Peronist posturing: pushing one another in the chest, throwing fake punches and so on.
A little of this stylized play-acting goes a long way. More significantly, it detracts from the classy tango and milonga numbers, well served by Yanina Fajar’s rakish, sensual choreography and the debonair crooning of singer Javier “Cardenal” Dominguez, belting out “Mi Buenos Aires Querido” and other Rio de la Plata favorites in his best Carlos Gardel form.
“Tango Fire” really ignites after the intermission, when it drops the back story and turns things over to the performers. Naturally, the main attraction is the 10 sleek, tightly wound dancers, including Fajar and her partner, Nelson Celis. Kick-stepping between each other’s legs, executing perfect over-the-shoulder rolls or vise-gripping each other’s torsos like wrestling anacondas, the attractive couples brought an unusual degree of athleticism as well as panache to their ballroom paces.
Tango generally works best in a tight space, where the barely constrained pulse of the dance always threatens to explode out violently. But this skillful ensemble managed to carve out suitably constricted floor room within the wide Disney stage.
The true highlight of “Tango Fire,” though, as the Disney audience’s applause attested, is the suave, emotionally wrenching playing of its four-man combo: Gustavo Casenave on piano; Hugo Satorre on bandoneón; Marcelo Rebuffi, violin; and Gerardo Scaglione, double bass.
After maintaining a steady but unspectacular presence during the show’s first half, the musicians whipped up a torrent of dark, minor-key passions following the interval. Combining Satorre’s and Rebuffi’s expressively drawn-out solos, Scaglione’s groaning bass and Casenave’s mad sprints up and down the ivories, the quartet’s renditions of several Astor Piazzolla classics, including “Otoño Porteño,” “Fuga y Misterio” and “Adiós Nonino,” drove to the heart of tango’s exquisite tension between euphoria and despair.
LA Times March 2, 2009
'Tango Fire' showcases sensational Argentine dancers
The various tango presentations showing up over the past two decades share a typical approach and format.
Backed by musicians, five or so couples parade before our eyes and deliver striking duets, varied by the occasional comic interlude and large ensemble work.
What saves this predictable recipe from tango-on-ice mediocrity is the consistent talents on display, year after year, tango lineup after lineup. So it proves again with "Tango Fire," a showcase of sensational Argentine dancers and musicians that played the Harris Theater over the weekend. If we're lucky, they'll return.
True, the first act is a little sleepy, more clean and clinical than charged with the sexual tingle and amazing acrobatics tango embraces. Set in a club, it follows a loose, almost imperceptible trip through time, through the 1920s and the present, revealed mainly by the costumes. There's an amusing male ensemble revolving around nightclub fisticuffs, one man twirling elegantly across the floor only to plant a combative knee into another man's backside, for instance.
But the precise, refined dancing in Act 1 hardly prepares you for the fireworks and musical heights of Act 2. Yanina Fajar, the show's director of choreography, approaches tango with a sly, ballet bent. The sleek extensions of the svelte women in the cast are a delight throughout, and, in Act 2, Fajar boosts the ballet component to graft gorgeous lifts, dangerous drops and hints of arabesques to otherwise terrific tango.
My favorite couple was Carolina Giannini and German Cornejo, a steamy partnership buoyed by her quicksilver agility. Enough can't be said for the four-member onstage orchestra, who deliver a couple of rousing musical numbers.
Chicago Tribune
January 26, 2009'
CANADA 2008
Tango Fire? Tango inferno is more like it. The Buenos Aires-based dance troupe set a five-alarm blaze at the NAC Tuesday night, a conflagration sparked by the spectacular - and spectacularly sexy - pyrotechnics of Argentina's most famous cultural export.
Choreographed by Yanina Fajar and Nelson Celis and performed by 10 dancers and five musicians, Tango Fire takes the audience on a journey though the history of the tango, from the 1920s to today. There is literally never a dull moment. Inventive group dances alternate with exhilarating duets that showcase the different personalities and skills of each of the five couples. The women wear a dazzling assortment of slinky, slit-up-to-there dresses, while their male partners cut elegant figures in suits, fedoras and slicked-back hair.
There are solo numbers for the superb musicians as well: pianist Gabriel Clenar, violinist Marcelo Rebuffi, bass player Gerardo Scaglione and the magnificent Hugo Satorre on the small traditional accordion known as the bandoneon. The quartet also backs the suave vocal stylings of singer Javier "Cardenal" Dominguez on several songs.
The first section is presented as an extended milonga, or informal tango party, taking place at the beaux-arts "Café del Tango". These earlier numbers are lighthearted, playful and flirtatious, rather than dark and smouldering. The foot and legwork is dazzling, with the dancers' limbs whipping around in increasingly complicated patterns. It's as quick as lightening, yet laser-clean and precise, and the dancers make everything look utterly effortless.There's an especially intricate and impressive duet for the petite but explosive Carolina Giannini and her excellent partner, German Conejo, although the statuesque, Hitchcock blonde Ines Cuesta and her husband, Mauricio Celis, were also outstanding. There's also a fun, macho "fight" dance for the five men, who are all exquisite partners to their ladies.
The second half showcases some of the more flamboyant, modern forms of tango, including the so-called "acrobatic" tango, which features gasp-worthy lifts, dips, spins and suicide drops. Cornejo and Giannini were again breathtaking in the second half, as were the nervy, sparkling pairing of Victoria Saudelli and Sebastian Alvarez. The finale, with the five couples pulling out all the stops, surely had everyone in the audience longing to sign up for tango lessons.
Ottowa Citizen 11 Nov 2008
USA 2008
Everything may be beautiful at the ballet, but at Tango Fire, everything is smoldering. The troupe of five male-female couples and the group’s great four man Quatrotango Orchestra is more than tango for export.
In their second appearance in Verizon Hall, this could have been easily a rearranged reprise and in fact, is even more cohesive. But, unlike other cultural dance spectacles, choreographer Yanina Fajar expressing all of the moods of the tango, with authority and style.
The opening "Milonga" club social introduces the dancers’ persona, the men in perfect suits and the women in an array of velvet-satin gowns. The second section ’The Show’ is more theatrical.
Fajar goes deeper with tango variations and gestural acting, shown masterfully in the transitional phrasing. Especially rich are the tangos that extend to two parts, with the chemistry built to its climax, melting into expressive resprises for each duet.
Of course, sprinkled throughout are tango’s signature moves- the backward drag steps, the dramatic lift positions, the freeze poses (abrazo), not to mention those dangerously darting legs and death drops.
Since its beginnings, the tango has been adapted and interpreted to cover the Kinsey’s scale of sexual orientation. The closest we get here is a terrific roughhouse tango by the five men that turns into horseplay when the women reenter.
Two double-tempo sequences by the couples feature razor sharp precision (Those between the legs darting leg jabs are downright dangerous). All of the couples burned the floor in their own way and the audience went particularly wild at the attack and lift patterns of Sebastian Alvarez and Victoria Saudelli.
Quartotango filled Verizon with two lush sets of tango music, like many of the dance reprises, so liberated in the continuo, leaving the audience in memorable afterglow.
EDGE Philadelphia, PA Nov 7, 2008
AUSTRALIA 2008
Sexy and breathlessly daring
This exhilarating show has nearly got it all. The couples whirl as one at dazzling speeds. Legs entwine and escape in thrilling, agitated action as if they have a life of their own. Bodies bend and sway. Seductively cut costumes for the women project the sensuality of their movements against the sober suits of the men.
Tango Fire has toured Australia before, but this is their best show yet. The skills and character of the 10 dancers, the singer Pablo Lago and the wonderful band Quatrotango, are cleverly moulded into a very entertaining program of dance.
The first half is set in a cafe, where the tango got its start in bohemian circumstances as a social dance in Argentina. The performers sit at tables, make "conversation" as freshly as if they weren't doing it nightly on tour for months at a time, and come and go on the dance floor - with carefully timed costume changes for each new number.
The tango and its close relative, the milonga, inspire a range of dances. The traditional intimacy of two close-knit bodies combined as a unit is contrasted with breakaway sequences in which two dancers still work as one, but just a heartbeat away - fabulous to watch and very sexy.
There is rarely a solo - a brief, buoyant moment sticks in my mind from one of my favourite dancers, Mauricio Celis, as a song gets under way - but a handful of dynamic ensembles break the duet pattern.
The simulated fight for the men is amusing and well done, yet it is even more exciting to see five couples negotiate the space and each other at speed, stretching or narrowing their steps as required in perfect harmony.
After the interval the performers do their party pieces, which build to a spectacular climax in acrobatic partnerships from German Cornejo and Carolina Giannini, and Sebastian Alvarez and Victoria Saudelli. Both couples are heart-in-mouth daring in how they have developed the tango, though my favourite couple is the traditional Nelson Celis and Yanina Fajar. Yet, for me there was one thing missing: the darker side of longing in this bittersweet dance style. It can be heard in the music, but Tango Fire is visually so upbeat that it misses out in the dance. But that is not much of a complaint, is it?
The Sydney Morning Herard July 3, 2008
Sensuality, power and desire, but the thigh's the limit
THE tango began in the backstreets and brothels of Buenos Aires. Like the flamenco in Spain, it grew in popularity as a national dance the more Argentina was dominated by outside influences.
Tango Fire opened in a smoky replica of a dance hall, with band, singer, and five black-haired men cruising and appraising the women, offering invitations to dance with a discreet raise of the eyebrow to avoid humiliation should they be refused.
This peacock display was wonderfully executed, with an almost identical straightening of tie, adjustment of cuffs, a slide of hand over oiled hair, and a cocky smirk.
It was rather like looking at a boxed set of Antonio Banderases. The routines were dazzling. If flamenco is mostly about the feet, then tango is all about the lower leg.
With torsos aligned, the lower legs twirled with a life of their own, and snapped with a knee-jerk kick backwards and forwards through the half opened legs of their - obviously trusting - partners. The leg was also employed to curl like a velvet vice along the man's taut spine.
The second half, on a bare set except for the band, contained more of the sensual moves you expect from the tango, the kind you get arrested for. Those poised initial movements slid, as they do, into desire-filled horizontal clinches, which could but end in the man's agonised face being laid upon his partners stomach, and his wide-fingered hand being slid along her long thigh. That's the tango for you: beats a night in watching television any day.The 10 dancers were impressively skilled, and visually stunning, the women's dresses slit to the thigh and glowing with colour and jewelled embellishment. It was inspiring to watch the power displayed as those strong women were tossed arrogantly up and over the head, hurled downwards, and nonchalantly aided to glide mercury-like across the floor. To add to all that was the virtuosity of the band, Quatrotango, made up of violin (Marcelo Rebuffi), bandoneon (Hugo Satorre), piano (Gabriel Clenar) and double bass (Gerardo Scaglione). Their soulful, minor-keyed music was painfully beautiful and conjured visions of an ardent Argentina.
The Australian June 23, 2008
USA 2008
Tango company is on ‘Fire’ at Cutler Majestic Theatre
Tango Fire has been promoted as Buenos Aires’ “most acclaimed tango company,” which seems like hyperbole - but these glamorous men and women are the finest tango artists I’ve ever seen.
I’ve followed the scene closely since the beginning of the American tango craze in the early 1980s, and “Tango Fire,” which opened Friday night at Cutler Majestic Theatre, represents significant advances in sophistication and contemporary interpretation.
Audiences adore tango because it is simultaneously rhythmic, technical and erotic. It is also a style that seems to absorb all of the space around it; one traveling couple is all that is needed to illuminate the largest of stages.
Like the successful Broadway revue “Tango Argentino,” “Tango Fire” attempts to survey the history of tango, but without resorting to chronology. The first part offers a series of intimate duets and ensemble dances focused on “Milonga,” a countryside dance from the early 19th century that originated in Buenos Aires, Argentina, as a popular song style in duple meter.
Singer Javier Di Ciriaco, with his matinee-idol good looks, offered soaring vocals in the passionate melodies of “Grisel” and “Ventarron.” It made perfect sense, since the entire first half is set in the imaginary “Caf del Tango,” complete with tiny tables and lamps. Along with the blazing duets, there is even a staged fight for five men that transforms into a rousing unison dance.
Part two segues into modern tango, epitomized by the wide-ranging compositions of the late Astor Piazzolla, and features extreme, daring lifts and aggressive choreography. Pablo Sosa and Mariela Maldonado in a handsome rendition of Piazzolla’s classic “Libertango” provided the artistic arc of the show.
Boston Herald, Jan 13 2008
‘Tango Fire’ blazes with danger and exuberance
Rarely has the tempestuous tango looked like so much exuberant, out-and-out fun as in “Tango Fire”. This is tango with a big smile and boisterous high jinks performed by 10 exquisitely skilled dancers with spirit and charisma to match. All in their 20’s and 30’s, they are uniformly gorgeous. The women are lithe with deeply arched backs and finely sculpted legs that slice like machetes with stunning precision and flexibility. The men have taut, muscular torsos of commanding confidence, and feet and legs as nimble off the ground as on.
The Boston Globe, Jan 15 2008
AUSTRALIA 2007
Burning Down the House With Flair and Fancy Footwork
The Age Melbourne August 2007
The dancers are highly accomplished and the music is fabulous. By the end of the evening tango had worked its magic on us all, giving rise to whistling and shouted applause and multiple curtain calls.
The Age (Melbourne August 2007)
USA 2006
Cultural high point:
Anyone who didn’t see “Tango Fire” at Town Hall
on November 12, with the troupe dancing to the music
of the greatest composer of the twentieth century, Astor Piazzolla,
missed out on the most important music and dance event all century.
I could explain why, but you really had to be there.
Tom Wolfe
New York Magazine Dec 2006
Tango That's Playful as Well as Passionate
If you like tango shows in one shade -- dark and brooding -- the Argentine company Tango Fire isn't for you. This troupe of
five couples, takes dancing seriously but also emanates a playful grasp of theater. ''Tango Fire,'' which was performed twice on Sunday at Town Hall, glides along as smoothly as an express train without ever derailing into a pseudo-seduction melodrama.
The show presents a fresh look at the tango form. Part of the allure is the numerous, exceptionally well-cut costumes, created by the show's wardrobe manager, Maria Spingola. The excellent orchestra, Quatrotango, was led by the youthful, shaggy-haired Gabriel Clenar, who directed three musicians while he played the piano. Diego Fama was the singer. ''Tango Fire'' transformed the theater from a nightclub atmosphere in ''The Milonga'' to a more traditional display of stage dancing in ''The Show.''
In the first half, as couples performed tangos in the center, other dancers stood or sat at tables along the perimeter of the stage, arguing and gossiping with adorable precision. In the second half two couples -- Pablo Sosa and Mariela Maldonado, and Mauricio Celis and Inés Cuesta -- added complicated lifts to their numbers and daring speed, their legs cutting and dividing the air like machetes.
No couple, however, was as beautifully lavish as Luciano Capparelli and Rocío de los Santos. In each of their tangos, tension gave way to voluptuous softness, and powerful overhead lifts melted onto the floor in silken extensions. As the title goes, they were on fire.
The New York Times Nov 2006
UK 2006
“… a sizzling, sensual taste of
the real thing … sexual electricity crackling at the arch of
an eyebrow, exploding at the twitch of a hip. Turning the genteel
confines of Sloane Square’s Cadogan Hall into a sea of writhing
libido takes some doing, but Tango Fire pulls it off”
The Evening Standard (London Sept 2006)
“A dazzling and sophisticated show”
The Scotsman (Edinburgh Festival Review 2006) “Combines a virtuoso
four-piece band with seriously sophisticated tango”
TOP FIVE Scotland on Sunday (Edinburgh
Festival 2006)
“High energy and sensual sophistication will induce beads of
sweat across the brow of even the most unflappable spectator”
Scotland on Sunday (Edinburgh Festival
Review 2006)
“Tango Fire is back and hotter than ever”
Edinburgh Festivals Magazine (2006)
Edinburgh Festival August
2005
THE SCOTSMAN, Edinburgh
LATIN American dance and the music that's indelibly tied to it are
having their biggest popular resurgence in Britain for years. Dance
classes are as much a part of modern urban life as cafés, and
the popularity of movies such as Shall We Dance? and television's
Strictly Come Dancing - with its inept soap stars and celebrity gardeners
- make everyone into instant experts.
This show imported from Buenos Aires, though, is as far from that
as Argentina is from Edinburgh. This is the real thing and when you
see it, you know instantly that no number of lessons could get you
close to capturing the artistry of tango - born of a culture where
it's not a hobby but an integral part of life.
It's not a dance performance as such. Four dancers appear for only
around half the show, which is based on the four musicians of La Quartada
Tango, who are a revelation, especially in comparison to the neutered
forms of Latin music we tend to hear most often.
This music is not smooth; it's as twisty and kicky as the dance steps,
and faster than seems possible, with notes spiraling and chasing
each other - just as the dancers shadow and mirror each other's steps.
It's dissonant, even harsh at times, but quite thrilling at others.
The musicians are extremely tight as a group, and their timing is
excellent. Even without the dancers, there is plenty of drama in their
performance, but when the two couples - in a succession of to-die-for
outfits - are on stage, the connection between the heat of the music
and the sensuality of the dance comes through.
This is not the elegant flirtation of Western ballroom, nor the rhythm-led
sway of salsa, but complicated, grown-up passion.
At first, it's nostalgic, a throwback to the roots of tango in sleazy,
19th-century bars and brothels - all cocktail skirts, tailored suits
and fiery jealousy. By the end of the show, though, a distinctly modern
take on the dance comes through, with unusual moves showing the influence
of other forms of dance, coupled with music that seems utterly contemporary.
A striking and stirring show. (Andrew Mullaney)
THE LIST, Edinburgh
Sexual politics, Argentinean style
a sophisticated show … fusing jazz, classical and traditional
South American sounds, the band fan the flames of the increasingly
passionate dancers before them.
The two couples perform without any pretence at subtlety or innuendo
– this is foreplay on the dance floor. Wearing high split cocktail
dresses, feather boas and fishnets, the two women press up against
their sharp-suited partners seductively. Knee joints move at lightning
quick speed, as the couples intertwine legs to the driving rhythm,
while a closing duet, peppered with high lifts and sudden drops, proves
just how versatile modern Tango can be in the right hands
THE TIMES, UK
If you are expecting some Latina bent over backwards with a rose between
her teeth gliding along the parquet, you will be disappointed. There
are excellent dancers whose fleetness of foot is as dazzling as the
women’s frocks and the men’s black and white shoes. The
dances are heavily elaborated but still maintain the characteristic
intimacy as if the couples are dancing for each other rather than
the audience.
The stars are the four-piece band La Quartada Tango. These are not
ruffians who have grown with tango in their blood or some such romantic
nonsense. They are musicians who have been to the conservatoire. The
arrangements from Piazzolla as well as from less well known composers
are original and clever, and the musicianship is extraordinary.
It’s easy to play together in a regular beat. But the tugging
around of tempi and rhythms here requires an almost telepathic level
of communication. Individually on piano, string bass, bandoneon and
violin they are superb. Marcello Rebuffi wrings sounds from his violin
that would have you believe the instrument itself is weeping
Australian Tour
April/ May, 2005
Sensuous twists and turns, lightning sharp interaction between a pair
of dancers, great music, sexy costumes and glamorous performers make
Tango Fire a show that is full of adrenalin and good humour
(SYDNEY MORNING HERALD, Sydney)
Burning with sensual energy … leaves you wanting more …
the execution is perfect, the passion intense … this is tango
at its best
(SUNDAY HERALD SUN, Melbourne)
Incorporating aerial moves and some daringly sexy material, Tango
Fire is a glamorous display of agility, ardour and showmanship …
fiery entertainment from a high-quality production
(THE AGE, Melbourne)
This tango from Tango Fire is hot. It is precise, tight,
well connected and supported by a band of exemplary musicians …
pure and simple, whether upbeat or sultry, executed with clean, razor-sharp
timing and emotion
(HERALD SUN, Melbourne)
… the authentic tango of Buenos Aires danced to some of the
most supple, liquid tango music ever heard from a touring company
… served with sensuous sizzle and grace, Tango Fire is the real
deal
(THE WEST AUSTRALIAN, Perth)
Tango Fire demonstrates in a bravura performance why
the tango is regarded as a national treasure …
(THE ADELAIDE ADVERTISER, Adelaide)
Sex on legs
(THE COURIER MAIL, Brisbane)
Dazzling earthy passion … moments of sculptural beauty
(DOMINION POST, Wellington)
Other International Quotes…
So good it makes you shiver
(EL CORREO, Guatemala)
