Donde Esta España?

It is now—and has been for quite a few years, actually—E. Rodriguez Avenue, but that long stretch of road that sort of morphs out of Quezon Boulevard is still known to a large segment of the population as España. Clogged with jeepneys, it hits the Welcome Rotunda straight on then veers right and becomes España Extension, until it meets Aurora Boulevard in Cubao.

España, obviously, for Spain, still Mother Country to some. For the first timer, when you hear it, it sounds more like "Spaña," the "E" dropped for expediency, as in, "Baha na sa ’Spaña (’Spaña is now flooded)." And flooded it often is, no matter countless attempts to flood control it. If ’Spaña isn’t flooded—knee-deep (hanggang tuhod) or waist-deep (hanggang baywang na)—then it’s not really serious rain.

The road that speaks to the heart and soul of the diehard Manilan is the inspiration for Ballet Philippines’ 37th season ender, titled what else but "España Extension."

It’s not exactly dancing about or on or in paean to—not really. Ballet Philippines’ artistic director Bam Damian, transplanted back to Manila a couple of years ago from a lifetime in Europe, offers this explanation: "It embraces several interpretations: first, it is any ‘extended adaptation of what is indigenously Spanish,’ that is to say a reworking or re-interpretation of; second, being under the Spaniards for more than 300 years has imbibed a flavor of the Spanish culture into our way of life; third, it’s a straightforward recall of a recognized Manila avenue—the current E. Rodriguez road was formerly known as España Extension." So there.

So it’s "que horror," "que barbaridad," "que tal," and perhaps even "queso de bola" when the dancers of Ballet Philippines take the stage of the Main Theater of the Cultural Center on March 2, 3 and 4 with what BP promises to be a "rapturous finale" to their season. Consider:

Damian creates Carmen: A Trilogy, a sleeker, more condensed and updated 20-minute ballet based on the hour-long opera by George Bizet. Here, he strips the opera to its basic elements and retains only its three pivotal characters—Carmen, Don Jose and the torero Escamillo. Even minus the cigar girls, this dance innovation should be riveting stagecraft.

Other choreographies that will make their stage debuts in España Extension are: Cucurrucucu Paloma by Caetano Veloso and State of No Mind by BP’s resident choreographer Alden Lugnasin with music by Nuevas Cruzes; Desseo by David Russo with music from Yerma by Gerardo Nuñez and El Bolero Blanco by James Laforteza.

Of the lot, I admit to favoritism but expect Lugnasin and Damian to come up with choreographies worthy of the Spanish crown. If not them, then the special appearance of BP chairman Tonyboy Cojuangco—on stage, honest!—in the show’s overture Andalucia, together with BP president Maan Hontiveros, should give audiences a royal moment.

A must for a Spanish evening of dance is, of course, flamenco, and that comes in the form of Angel Gomez, protégé of "Manila’s own mother of Spanish dance Rose Borromeo."

So brush up on your "coño-isms" and dust off your manton if you’ve got one, and head over to the CCP for one sizzling evening. You’ll never think of ’Spaña the same way again.

Sponsors are Metro Pacific, Lufthansa, Essenses Foundation, Rustan’s Nars and Mario Badescu.

España Extension goes on stage at the CCP Main Theater on March 2 and 3 at 8 pm, and March 3 and 4 at 3 pm. For tickets, call Ballet Philippines at 551-1003, or Ticketworld at 891-9999.