Por Daniela Pujol Pérez 
The tour by Contreras to the Vigia Square seemed extremely short in comparative with with the beginning of the show. Since it height the colossus building of neoclassic style observe passerby Matanzeros go with hurries to its stays.
With expectation, and without make silence, the public entered to the Sauto theater of the Matanzas city, National Monument, the whispers betrayed the impression of the presents by the place and, certainly, by the fact that there would happen in few minutes.
Maybe, to many, this marked their first time in the majesty theater. Maybe the company resulted unknown to few. Or, probably, any its was alien to them but that don not stop them of make a part of the emotion of the moment.
The environment captures peerless the feeling of the public just before of the beginning of the function, conversations in low, looks expectantly sighs of longing.
The light suddenly started to descend on intensity, ¡Silence!Danza espiral is starting to Act.
The show jousted by technical problems with two of their dancer, as explained Liliam Padron, included the presentation of Un hombre es asi and Vida de Flora, inspired in the poems namesakes of the outstanding writer and playwright from Cardenas Virgilio Piñera, next to A solo de piano and A las en punto, also though starting from the pieces of the author.
The curtain went up and four young dancer from the company narrated with their bodies the passing of the morning of any Cuban, accompanied by the reading of the Poem A las en punto, in the voice of the actor Ivan Garcia.
Piano solo generated singular admiration from the assemble public, due to the nuances exposed in said poem also interpreted by Ivan Garcia.
Enrique Leyva Brines the company first dancer, grabbed attention when he entered the stage on bicycle and in a bathrobe. With special mastery, Leyva was able to capture the essence Un hombre es asi, a poem that reflect the vulnerabilities of the male sex and the peculiarities, feminine for some, that it harbors.
The music ,at all times, marked the rhythm of a show careful staged by Liliam Padron and designed by the late Matanzas artist Rolando Estevez Jordan. From classical pieces to popular rhythms, the sound mix became like a glove the revival of works in honor of the 110th anniversary of the birth of Virgilio Piñera.
The highlights of the night, Vida de Flora was marked by the excellent performance of the young dancer Christopher Andy Boulet and the locution of the poem in the voice of Piñera Himself.
The play, like the starting of Danza Espiral, narrates the life of a woman named Flora who, because of her big feet, receives criticism and mistreatment from the rest of society. Christopher, interpreted of Flora for the second time , wear the skin of a female who struggle to be accepted and beyond that, to lead a full a full life.
Dances focused on the feet of the performers, a dance with all the dancer of the company and Boulet solo moments in which Flora desperation is practically palpable, kept the audience on edge, waiting for the next step and move.
After the scene of the apparent end of the long-footed protagonist, a group of rumberos burst onto the stage to the beat of drums. Dancers, lighting specialist, the public; all eyes on them and the touch of saint that closed the magnificent staging of Danza Espiral.
The applause did not take long to flood the space and tear down the wall of silence generated by the closing of the curtain.
Once again, Danza Espiral pleased its audience.
Translated by Casterman Medina de Leon