Dance: Everybody shout ¡Olé!

Yllana
Flamenc Oh!!
direction David Ottone and Juan Ramos
artists David Bastidas, Raquel Ortega, Raúl Ortega, Anabel Moreno, Luis Gallo
choreography Carlos Chamorro • costumes Tatiana de Sarabia
set Carlos Brayda • lighting Juani González Vega
Peacock Theatre, London • 30.Sep-10.Oct.26 ★★★★

Those gifted, cheeky artists at Yllana (see also The Opera Locos) bring their lively and hugely entertaining homage to flamenco to London, fresh from the Edinburgh Fringe. Of course, these performers are experts at the craft, dazzling the audience with their wonderful sense of rhythm and movement. But they are also having a lot of fun telling a silly story that has some serious kicks as it explores personal identity, family connections and legacy.

A voiceover paints a portrait of a flamenco family, with the imperious patriarch (David Bastidas) deploying his soaring voice while tapping the cane that symbolises his authority. His wife (Raquel Ortega) is a feisty dancer who rules the roost, while their son (Raúl Ortega) and daughter (Anabel Moreno) demonstrate seriously fancy footwork and armography. Both siblings hope to inherit the cane, and Dad needs to make a decision. He is clearly disappointed with his son, but his daughter is throwing herself at the steaming hot guitarist (Luis Gallo) who just strutted into their lives with his luscious locks of hair and shockingly modern musical sensibilities.

Within this soap opera, each character is a hilarious bundle of attitudes and personality quirks, adding amusing touches to even their most impressive displays of flamenco prowess. These are top-notch performers who continually wow us with their talents, even if the show is designed for entertainment rather than audacity. Ortega and Moreno get a chance to deliver stunning riffs of taconeo as the brother and sister battle for their parents' approval. And Gallo's astonishing guitar work is augmented by his character's riotously preening physicality.

There are also deeper themes that have something more profound to say about Spanish culture, such as how the father longs to explore his feminine side, but feels trapped in his machismo. Finally he takes the plunge and tries on a ruffly red gown, surprised that his wife embraces this. Watching them throw their trains around is thrilling, leaving us wanting much more of this. There's also a nice edge to the way the son seeks approval from his father, while the daughter refuses to settle for anything but the top spot.

Through all of this, modern music continually creeps in, with lovely riffs from standards like Summertime, Moon River and Beautiful, plus exhilarating renditions of Maniac and Purple Rain. Cultural touches include some romance, mysticism and even a bit of magical realism. There are also of course snapping castanets, swirling capes and a full-on boxing ring dance off for the cane. Characters continually flirt with the audience, which is frequently coaxed into clapping to the beat or shouting ¡Olé! And even if it's perhaps a little too crowd-pleasing, the barnstorming curtain call sends us out with a smile.

For details, SADLER'S WELLS >

photos by Pablo Lorente • 30.Sep.26

Stage: Rhythms from rubbish

Trash!
direction Yllana • music Toompak
with Gorka González, Fran Mark, Bruno Alves, Harold Gazeau
artistic direction David Ottone, Jony Elías, Gorka González
choreography María Rayo
set and costumes Tatiana de Sarabia
sound Nacho Ramírez • lighting Lola Barroso
Peacock Theatre, London • 18.Feb-1.Mar.25 ★★★★

From Spain, theatre company Yllana and percussion artists Toompack combine forces for this explosion of rhythm and rubbish. As with Stomp or Tapdogs, this show is a series of numbers performed using unconventional methods, in this case seemingly random items in a recycling centre where four outrageously talented men create an explosion of music and comedy. It's a hugely entertaining show, largely because the buoyantly energetic performers are having so much fun that the atmosphere becomes electric.

We meet these guys when they're in giant black bin liners, tapping out beats in the plastic before emerging to continue drumming on barrels. Because it's so enjoyable, it's easy to underestimate the talent we are witnessing, as they play with complex synchronicity and syncopation to craft layered textures of sound with whatever it is they have to hand. This includes tyres, toolboxes, umbrellas, basketballs, gas canisters and a vast number of plastic bottles. Of course, all of this is impeccably planned out and choreographed, but there's still a wonderful sense of chaos about it, most notably in the performers' comical interaction.

Along the way, each one gets a chance to stamp his personality on the proceedings, with witty gags, hilariously rebellious moments and bursts of song. They also speak to each other and the audience in Minions-style gibberish, which makes all four of them almost ridiculously endearing. This draws us in even further than the toe-tapping range of musical numbers, most of which feature genuinely jaw-dropping moments in which these guys demonstrate their expertise. And each one has serious skills.

It's impossible to pick a favourite moment, as the impressive musicality and goofy jokes keep the adults in the audience gripped and the kids giggling. With his rumbling voice and lightning-fast hands, Gorka González is clearly the leader, while Bruno Alves steals the show with cheeky bursts of anarchy and soaring musical riffs. Harold Gazeau has more energy than he can contain. And Frank Mark's marimba-style piece using bottles and a shopping trolly is a stunner. Then after some amusing audience participation and several call-and-response sequences, a flurry of sparks creates a triumphant climax.

For details, SADLER'S WELLS >

photos by Illana and Toompack: Trash! • 19.Feb.25