COPLA: A SPANISH CABARET
Theatro Technis
★★½
“rich in ideas, but its academic form and uneven execution keep it from fully landing”
‘Copla: a Spanish Cabaret’ is a one person love letter to copla music’s chequered history. Originally a subversive genre associated with marginalised Spanish communities, copla was co opted as Francoist propaganda before being reclaimed by drag and progressive artists from the 1980s onwards. After runs at the Edinburgh Fringe and The Other Palace, this show returns for Voila Festival as a celebration of music, culture, queerness, and survival. However, it feels lost in translation, weighed down by a stilted structure, overuse of video, and muddy microphones.
‘Copla: a Spanish Cabaret’ traces the genre’s history through writer and performer Alejandro Postigo’s life, blending autobiography with themes of translation, nationalism, drag artistry, and the lasting impact of Franco’s dictatorship on Spain’s LGBTQIA+ community. It’s a heartfelt ode to copla, queerness and feeling in between.
Postigo’s inventive script blends music, dialogue and video, confronting controversial issues head on with fearlessness and sharp humour – the hilarious game of ‘Who Wants To Be A Fascist Censorship Officer’ is a particular highlight and showcases Postigo’s crowd working flair. Copla songs are helpfully translated once they’ve been sung in Spanish, making them accessible while preserving their beauty. Video clips skilfully elaborate some points, most movingly Postigo’s 101-year-old grandmother’s ongoing struggle to discuss queerness.
However, the unusual style veers into lecture territory. The show opens with slightly forced audience participation, feeling more TED talk than theatre, though Postigo quickly recovers the energy with rhythmic clapping which moves seamlessly into the first song. At times the show slips into list making, with Postigo’s credentials and exhaustive ‘My Man’ catalogue diverting attention from deeper exploration of copla’s cultural significance. While ‘Copla’ succeeds in introducing the genre to new audiences, musical renditions feel steeped in historical accuracy, missing chances to show more of copla’s evolution and modern relevance. Overall, the core idea is compelling but the delivery feels weighed down by scholarly exactness.
Sergio Maggiolo’s direction features slick use of technology, with video clips whizzing seamlessly between scenes. There are clever mid-scene costume changes which maintain energy and pace. Postigo commands the room with ease, mingling effortlessly with the audience. However, the relatively large space makes an intimate cabaret more challenging, with the central projector forcing performers to extreme sides.
Costumes hung like a diva’s dressing room and cabaret tables for the front row suggest intimacy, though much of it dissipates in this venue’s larger space. The lighting design effectively captures the mood, shifting from gameshow flashes to dramatic spots to tender low light. Ricardo Ferreira’s video design is slick and seamless, though its frequent switches to other speakers and singers dilutes Postigo’s voice, and again feels more TED talk than stagecraft. The sound design needs urgent attention, making Postigo sound distant while amplifying breaths, distracting from the beautiful copla songs.
Postigo’s infectious energy, great comic timing and effortless charm hold attention throughout. Unfortunately, poor sound balance makes it hard to judge the singing quality. Postigo sings with musical accompaniment from Violeta Valladares on violin and Jack Elsdon on piano, forming a capable trio infused with Spanish soul. Valladares’ vocal duet adds variety, though her breathier delivery sits unevenly beside Postigo’s power and commitment.
Ultimately, ‘Copla: a Spanish Cabaret’ is bold in spirit and rich in ideas, but its academic form and uneven execution keep it from fully landing.
COPLA: A SPANISH CABARET
Theatro Technis
Reviewed on 21st November 2025
by Hannah Bothelton
