Peacock Theatre, London.
30 September 2026.
You’re in for a joyful, relaxed and entertaining evening if you come and watch Yllana Productions’ Flamenc Oh!!
Based on a family that has passed down the flamenco journey, from one generation to the next, Flamenc Oh!! begins with the audience bathed in red light and a smartly dressed cantaor – David Bastidas – holding a white cane, descending through the audience, singing. He has fantastic strength in his melodic voice, which will carry the production through over the next 90 minutes.
Once on stage, we are introduced to both an instant flair for humour and fun and the rest of the family. The cantaor is the patriarch – the cane a symbol of his authority. The matriarch (Raquel Ortega) and her daughter (Anabel Moreno) both enter through the curved, curtained arches of the scenery framing the stage. They are dressed as flamenco dancers and reveal their exceptional musical and flamenco dance skill as the unique production moves on. The son (Raúl Ortega) is an equally impressive flamenco dancer but is held in constant comparison to his competitive sister. And the final cast member, a very talented Luis Gallo as the flamenco guitarist. He plays for the majority of the evening, as main accompaniment to the various dances and as background to the mime and narrative parts. Simple humour, cleanly executed with impressive skill by this team of performers.
The patriarch is a traditionalist and is offended by the arrival of the new guitarist who has travelled the world and returned with a wealth of new music which he interjects – to the patriarch’s horror – into the flamenco music at regular intervals. Songs such as “Purple Rain,” and “Eye of the Tiger” appear, which capture both a humorous moment and connect the audience with these recognisable titles that are sung along to.
A voice actor narrates some of the action on stage, leading the storyline on, and whilst the artists are vocal, mainly in enthusiastic calls of “Olé!,” the work is very much a physical mime act with loads of physical farce. For example, there were dubbed footsteps for the guitarist’s entrances, and each time he came to a stop the footsteps continued for a couple of extra paces while he looked bemused.
Artists were also the Palmas – rhythmic clapping, which gave strength and support to the music, to the patriarch singing, and whoever was dancing. All five artists were involved all of the time. It was catchy, visually exciting and engaging and there were plenty of auditorium lights-up moments, when audience participation was required, either in clapping or in a short singing lesson from the patriarch! As well as for the matriarch to flirt with audience members, naturally upsetting the patriarch!
It was a fantastic idea to have different generations represented onstage – widening their appeal to audiences who could relate to the banter and the relationships via their own familial placing. Standout moments included the continual competing for the family cane between brother and sister, eventually resulting in a makeshift boxing ring, where they held a flamenco-off against each other! And the unleashing of the patriarch’s inner dancer in a very entertaining scene. The audience absolutely loved the development of his self-expression as he slipped one arm into a red flamenco dress hanging on a mannequin and fantasised himself as both the female and male dancer. Initially freezing as the matriarch entered, he soon relaxed as she offered her approval, helping him fully into the dress. The pair then danced flamboyantly together. Humorous and heartwarming, it was an unexpected but enchanting addition.
Infectious rhythms, with castanets and cajόn, intricate footwork, eye-catching swirling skirts and all five artists playing, clapping, singing, dancing. A very successful Flamenc Oh!! evening.
By Louise Ryrie of Dance Informa.
