Theater Online - New York Theater Reviews

Cathy Rocher ©2025  Rebeca Tomás, a fierce and feminine New York-based Flamenco artist, makes her solo debut with "A Palo Seco," an evening of Flamenco music and dance, infused with an innovative and edgy New York feel.

Rebeca Tomás made her solo debut in “A Palo Seco” at Theater 80 St. Marks in the East Village this past weekend, along with a company of very talented dancers and musicians.  The energy of the performers in this showcase of flamenco dancing and music was infectious – at times, the sold-out crowd of 200 could not help but clap along and give encouraging shouts of “Olé!” The different pieces presented explored the many different facets and emotions that can be expressed through dance – everything from dark intensity to joyous elation.

“Metamorphosis,” a solo done by Tomás, was the stand-out, a unique piece that utilized her skills as both a classical pianist and a flamenco dancer. It began with Tomás sitting at the piano playing Beethoven’s very somber Moonlight Sonata and transitioned into a hauntingly dark dance section set to the song Aprés Moi by Regina Spektor. It was modern dance meets flamenco – the artist using her craft as a form of self-expression. It was a depiction of her struggle to overcome obstacles and personal constraints.

Tomás danced two of her pieces as part of a trio with fellow dancers Laura Castellano and Sol “La Argentinita.” “Tangos” was an upbeat, very stylized piece which featured colorful costumes and the fancy footwork of Castellano. “Martinete” provided a stark contrast to “Tangos,” very somber and intense with the dancers forming intricate patterns and complex rhythms.

Photo by Maly Blomberg ©2025  Rebeca Tomás

“Soleá,”a solo danced by Sol “La Argentinita,” explored the more sensual and elegant side of flamenco. She showed that she is also a master of her craft and brought the energy in the room to a fever pitch with her rhythm, speed and skill.

“Alegrias,”another solo piece done by Tomás, allowed her to show a more playful, feminine side of her personality. Her body radiated energy as she executed the turns and rhythmic steps and the look on her face seemed to say “look at me, check out what I can do!” Though a diminutive 5’1,” Tomás is a fierce, intense dancer with a commanding presence on the stage.

Tomás and her dancers were accompanied by four musicians and 2 singers. These musicians were not hidden in a pit, but featured onstage along with the dancers. In Flamenco, it is essential that the dancers and musicians can see one another and interact because they play off of one another. In between the dance pieces, the musicians & singers took center stage for musical interludes and at one point, the audience was treated to a flamenco rendition of “Somewhere Over the Rainbow.”

The program both started and ended with Bulerias, improvisatory singing and dancing within the traditional style of Flamenco, which brought the show full circle. These pieces, along with “Martinete,” were done a palo seco – a cappella, with no musical accompaniment apart from percussion, from which the show takes its name. It gave the show a festive, party-like atmosphere and gave the entire cast – dancers, singers and musicians – to let loose and show off a little. “A Palo Seco” as a whole was truly a feast for the eyes and the ears.