Soledad Barrio & Noche Flamenco

I can understand why Mart�n Santangelo and wife Soledad Barrio would want to "stretch," as they say, by attempting to narrate a story through their chosen medium. But in adapting Sophocles' tragedy "Antigone," "Soledad Barrio & Noche Flamenco" only demonstrate flamenco's limits.

Taking on any theater piece would have been risky. But why such a monumental and complex story? As the original heroine who defies a government to answer to a high calling, "Antigone" stands as one of the �r-texts of Western civilization, the foundation stone for civil disobedience. It's also really, italic>really complicated.

The original Greek audience would have had enough of the backstory to follow the complexities on stage, but most people today aren't going to figure out what's going on when two studly guys dressed for a night at the Eagle do a dance number that's closer to the Hell's Kitchen of "West Side Story" than Andalusia, the Spanish home of flamenco -- to an electric guitar, no less!

There are some nice stage touches, but when the singer-dancer, whom I presume was supposed to be Creon, the king who seals the fate of Antigone and the son her loves her, knocks over a stool, it produced more titters than gasps. The fact that the program only contains a feature about the piece and no summary is a major detriment. However, even subtitles wouldn't put "Antigona" over. It just doesn't work.

The feeling of satisfaction among members of the audience at the commencement of the second half of the program was almost palpable. "Ah," they seemed to be saying, "here's what we came to see!"

This is flamenco the way flamenco was meant to be performed, with women's dresses ending in trails of ruffles, men in tight pants and loose shirts stomping the Joyce's stage like the floorboards were grapes destined for the vintner.

When Joan Ogalla and especially Barrio herself get their respective solos, the audience is wild with appreciation, every bit of it deserved. One of the things I enjoy most about flamenco is that it is the only dance form where performers aren't sidelined because of age.

Far from it: As these two veteran amply prove, flamenco is like a fine wine that only reveals the depths of richness --�not at first, but at last.

Anyone who hasn't doesn't understand how much pure joy underlies the pathos and sadness that is flamenco's calling card needs to experience this company. Just keep in mind that "Antigone" is more flamenco-ish than flamenco.

"Soledad Barrio & Noche Flamenco" runs through Nov. 9 at the Joyce Theater, 175 Eighth Ave. For tickets or information, call 212-242-0800 or visit www.joyce.org.