“Francisco Hidalgo, the flamenco choreographer, does outstanding work with the company of dancers”
House of Flamenka brings together a wealth of talent in the form of music, singing and dancing, all under the direction of Arlene Phillips. Phillips co-created this show with singer and dancer Karen Ruimy. Together these celebrated artists have produced a show that is best described as a fusion of flamenco and contemporary dance styles accompanied by an upbeat and updated medley of songs. The music includes everything from classics such as Bésame Mucho and Dance Me To The End Of Love (sung by Ruimy) to a more contemporary pop and hip hop vibe for the dancers. Ruimy does the singing to great effect, and the dancers are energetic and versatile. The show is sexy, and alluring.
There is a story to House of Flamenka, but audiences could be forgiven for not noticing. It is the most minimal of narratives, designed to bring together a singer, some dancers, and a set and costumes that would seem improbable under any other circumstances. It is a Broadway fantasy taken to extremes that will remind audiences, frankly, of the darker side of Los Angeles, rather than New York. But for what it’s worth, the narrative involves “a goddess of music and dance whose passion is collecting beautiful objects.” The programme note warns us that hubris is about to visit, but we never really get to find out how or why, unless it’s the disappearance of most of the set in the second half. At any rate, the goddess (Ruimy) presides over a show by her beautiful objects, and often participates. The whole event takes place in her extravagantly designed house, and is, indeed, an appropriate setting for the kind of entertainment that House of Flamenka provides.
There are many strong elements in House of Flamenka, and the footwork in the flamenco influenced numbers is particularly notable. Francisco Hidalgo, the flamenco choreographer, does outstanding work with the company of dancers, many of whom have distinguished careers in the flamenco world. Other dancers are from the world of contemporary dance and dance of the African diaspora — with equally distinguished experience. One of the great challenges of a show like this, then, is how to bring it all together. James Cousins does a brilliant job with the choreography of the numbers that feature contemporary dance. But it has to be said that flamenco, danced only by men (with the exception of Ruimy) feels incomplete, no matter how skillful the artists. Jasmine Swan who designed both set and costumes, manages a functional set despite its extravagance, but the costumes bring more attention to themselves, rather than to the dancers. The exception here are Ruimy’s costumes, which she changes for every number. They are both brilliantly designed and very flattering. But the point of fusion is to bring a variety of diverse styles and traditions together in a satisfying way. Sadly, House of Flamenka doesn’t really manage this in a way that feels organically whole.
If you go to House of Flamenka in search of art house flamenco rather than Broadway, you might be disappointed. Given the extraordinary abilities of the assembled company, you might also feel that House of Flamenka does not quite manage the diversity of its material to best effect. It is missing something that would turn this show from simply a good evening in the theatre, to something truly memorable.
“But taken on their own, each facet is a fascinating watch”
We are a few minutes into the show when renowned Flamenco dancer Karen Ruimy name drops the late Phil Ramone. We’ve just witnessed a smoky rendition of ‘Black Coffee’ that percolates a heady, jazzy atmosphere through the auditorium. We realise, then, that this is an album launch more than anything else. The credentials are impressive. Youth, the founding member of Killing Joke, is the Musical Director, and there is no shortage of virtuosity from the band forming an arc across the back of the stage. Ruimy herself has an intriguing backstory to add to the mix. Born in Casablanca, raised in Paris, she learnt flamenco at an early age. Adulthood found her in the banking world before leaving that to pursue creative and spiritual ventures and continuing as a professional flamenco dancer.
Already an author as well, she adds humanitarian work and philanthropy to her portfolio. Truly a force to be reckoned with, Ruimy brings her steely charisma to the stage. It is not entirely clear, however, which part of her personality we are being asked to focus on. The hesitancy in the delivery suggests nobody is really in control and consequently the show becomes a bit of a free for all. Titled “When Jazz meets Flamenco” it depicts more of a chance meeting between the two genres rather than a combination. We feel they are ships in the night rather than a meaningful romance. They don’t even exchange numbers. The sultry “Stormy Weather” and “La Vie En Rose” barely glance at the fiery bursts of music and dance breaks that feel as though they should be hot footing it into another gig.
But taken on their own, each facet is a fascinating watch; with the flamenco gaining more of the match points. Ruimy is a little short on theatricality, and occasionally short of the power needed to give voice to the songs she has chosen, but her band of musicians and dancers are more than happy to take the helm. Francisco Hidalgo and Francisco Blanco give star turns as the Flamenco dancer and singer respectively; their movement and energy creating the sparks that ignite this performance.
The band certainly feed the flames of passion that the style evokes. Particularly the Spanish guitar which frequently takes centre stage while the backline shifts into the shadows. It is a shame that these moments then give way to a lack lustre “These Boots Are Made For Walking”. Again, we are reminded of the discrepancy of the styles rather than a promised fusion. A mix that sounds fascinating but is not realised. Towards the finale Ruimy concentrates on the traditional roots that are clearly dear to her. And to her credit she refrains from using the evening to plug the album that is being released alongside the live shows. For her it is a labour of love, and she communicates this with an aficionado’s affection for detail.
Two powerful forces are being brought together in “When Jazz Meets Flamenco”. But like reluctant solitary creatures they circle each other warily. The marriage is never consummated and ultimately the heady, explosive hit that the collision could give is slightly diluted.
