Dear reader, my fellow human being, my brother: how can I explain what I experienced this Friday in the Sadler's Wells, LondonWhere to begin? Well, at the beginning, of course: in the lobby of the theater that has seen the world's greatest dance figures grace its stage, with an atmosphere befitting a truly grand occasion. It's worth noting that, even before the curtain rose, the audience began to applaud, not as a blank check, but as a message of encouragement, because they had come to enjoy themselves. And rightly so: the program featured four of the most in-form figures on the current scene, each with their own distinct style, but all top-tier, as they say here, sharing the stage and, as if by chance, playfully sizing each other up.
The original idea apparently arose in the Flamenco New York FestivalWith such a happy result that they have repeated the performance in London. Tickets sold out at the box office, 1.500 souls spread between the stalls and the boxes, and the fantastic four outside their comfort zone, or rather, without the relief and support of their usual companies, and instead forced to give their all and set the bar very high for each other.
The cane served as a calling card, both for the protagonists of the evening and for a production with just the right amount of set design, yet perfect in its various cast arrangements and transitions. On paper, it was clear that the youngest member of the group was Juan Thomas de la MoliaBut if anyone thought he'd be relegated to a mere opening act, they clearly haven't seen the man from Trebujena dance. His bulerías performance had absolutely everything. Energy, pellizcotemperament, humor, and they brought the audience to a level of excitement from which they were not going to get off all night.
"The original idea for this Flamenco Gala apparently arose in the Flamenco New York Festival, with such a happy outcome that they've repeated the performance in London. Tickets sold out at the box office, 1.500 people spread between the stalls and the boxes, and the fantastic four outside their comfort zone.
Manuel Linan y Eva Yerbabuena They then shared a genuinely Granadan pas de deux, the most contemporary moment of the show and also one of the most musically beautiful, before it was their turn farruThe Sevillian, who, cane in hand, would have crafted a signature seguiriya, is usually accustomed to being surrounded by his own people and allowing himself to sing or play the guitar—the latter he also did, as we could tell from seeing the guitar resting on the chair—but this time he also had to dance properly, without any affectation or artifice. It's true that sometimes his mere presence conveys enormous strength, but this time he truly gave his best performance.
After a short break, Manuel Liñán took to the stage in a flamenco dress with a train and shawl. He's been doing this for ten years, but each time he does it, it's a challenge to conventions, predetermined roles, and even the most prudish morality. And yet, the British audience seems to relish these Cádiz-style celebrations in all their glory, because the Granada native is a regular on their stages, and not only do they have no objections, they adore him.
With his unparalleled theatricality he sang Mara Rey the bolero I'm dying, I'm dying de Olga GuillotThe artist would also end up doing her own great dance, only classifiable in the category of extreme meteorological phenomena, as a counterpoint to Yerbabuena, with her ethereal figure splendidly illuminated, a small body that grows in the pure emotion of the soleá.
The finale, a tango number with the entire group on stage, was the celebration the occasion demanded. And eyes darted from one to another, and from one to another: Yerba, Liñán, Farru, Molía… Who can top that?
Credits
Flamenco GalaEva Yerbabuena, Manuel Liñán, El Farru, Juan Tomás de la Molía
21 º Flamenco London festival
Sadler's Wells Theatre
19 June, 2026
Dancers: Eva Yerbabuena, Manuel Liñán, El Farru, Juan Tomás de la Molía
Guitars: Paco Jarana, Francisco Vinuesa
Voices: Mara Rey, Juan de la María, Manuel de Ginés, Sebastián del Puerto
Percussion: Daniel Suarez
