When you have a new dance production come to the West End that’s created and directed by Arlene Phillips, you know you’re practically guaranteed a terrific night out. House of Flamenka, now playing at the Peacock Theatre further reinforces that notion.
The house mentioned in the title is the home of a goddess (Karen Ruimy), who according to the programme, has a passion for collecting beautiful objects. These transpire to be the dancers and musicians who perform for her day and night. Having angered the gods, the House of Flamenka is plunged into a sort of purgatory, where it’s opulent interiors and sense of exuberance are stripped away.
Jasmine Swan’s luscious set at the beginning of the first act certainly gives us the impression that the inhabitants of The House of Flamenka want for nothing. It is a paradise of luxurious furnishings, and as the velvet curtains open, we find our dancers framed in gold, illuminated beautifully by Doug FF Cairns lighting design for ‘La Nina’.
The costumes are equally as stunning, brocade corsets and jackets, adorned with shimmering golden detailing makes everything feel utterly sumptuous. The second act, with the gods fully angered, sees the house stripped back to metallic scaffolding, there are darker tinges to the costumes and the music more sombre, at least until our dancers start to rebel that is.
Karen Ruimy leads the cast spectacularly as the goddess, occasionally adding a song or two to proceedings, though this did steal a little from the fantasy world being created. Ruimy is joined by Francisco Hidalgo as Paco, nine flamenco dancers and ten contemporary dancers, and not forgetting two musicians who make the seats of the Peacock Theatre shudder with bold sounds.
Here, Flamenco and contemporary dance are fused together to create this rich kaleidoscope of dazzling sights and sounds. It’s sexy and alluring, but at the same time daring and defiant. James Cousins’ contemporary choreography blends beautifully with the more traditional flamenco choreography by Francisco Hidalgo.
The production is at its best when it’s being playful, such as in the Hats, Fans and Skirts segments of the first act, while different, the second act segments such as Ritual are no less compelling.
Everything about this production looks so beautiful, but it’s the talented troupe of dancers that make House of Flamenka worth seeing. Their skill and artistry make this production an alluring and powerful assault on the senses that delights audiences from start to finish.
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