Tango After Dark

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In 1985 Tango Argentina exploded on to the stage of New York City Center, opening a world of music, dance, culture and—most of all—sex for audiences whose idea of Tango was the now laughable Rudolph Valentino and Beatrice Dominguez in The Four Horsemen of the Apocalypse in 1921. Tango Argentina went on to a healthy Broadway run and stimulated a tango obsession.

Tango After Dark at The Joyce Theater is unlikely to stimulate such a frenzy, but is an entertaining demonstration of the art of the Tango.

Directed by Germán Cornejo (no relation to the ballet great Herman Cornejo who, ironically, appeared at The Joyce the previous week), Tango After Dark was a slickly choreographed show featuring five couples dancing to arrangements of music composed by the renowned Astor Piazzolla.

Piazzolla mined Tango music for all of its emotional depth.  Here, arranged by music director Diego Ramos for a small, but excellent ensemble, the music supported the slick dance moves for the good-looking cast.  Of course, the accordion-like bandoneon, the instrument most associated with Tango, played by Matias Rubino, was front and center.

The vocals of the lovely Antonela Cirillo, who changed from one beautiful gown to the next with each song sung in Spanish, were more smoothly   Europop than passionate Argentine.  Cirillo was also the hostess and narrator who invited the audience to her Buenos Aires.  (Elegant gowns and formal wear designed by Cornejo and Alberto Mauri.)

Cornejo and his stylish partner Gisela Galeassi led the way with a twisty, kicky dance, soon joined, couple by couple by: Nicolas Schell & Nair Schinca, Gonzalo Bogado & Jimena Toñanez; Esteban Simon & Marilu Leopardi; and Lisandro Eberle & Noelia Pizzo, all elegantly attired in a style that allowed them to dip into lunges, lift legs skyward and twist their hips in graceful intimations of sex, all the while holding their well-shaped torsos in picturesque repose.

Whether they danced as an ensemble or couple by couple, the Tangos resembled each other with their entangled legs, scooping dips and sudden endings in exciting dips.

The only allusion to the demimonde beginnings of Tango came with a men’s dance in which the now more casually dressed men partnered each other.  Tango allegedly began with men dancing with each other in brothels.  The Tango After Dark version lacked any feeling of sexual expectancy although the men did their muscular best.

Tango After Dark came across as more of a slick cabaret act, albeit one that was performed and staged with professional polish.  The dramatically focused lighting by original designer Charlie Morgan Jones (Clancy Flynn, assistant lighting designer and USA tour) gave theatrical flair to the choreography which, though a limited vision of this dance form, was entertaining and, at times, quite exciting.

There’s nothing wrong with entertainment or excitement even if it isn’t high art.  This ensemble provided two hours of fantasy even if it was a glib take on the Tango.  It was a good show and a good time.

Tango After Dark (through March 9, 2025)

The Joyce Theater, 175 Eighth Avenue, in Manhattan

For tickets, call 212-242-0800 or visit http://www.joyce.org

Running time: two hours including one intermission

A glib but entertaining take on one of Argentina’s artistic exports.