YLLANA — The Opera Locos at Sadler’s Wells Theatre is a wildly inventive comic opera experience from the acclaimed Spanish company Yllana, where operatic tradition collides with pop energy, slapstick absurdity and high-energy physical comedy. Blending world-class singing with hits from the operatic canon alongside pop classics, this production invites audiences of all backgrounds, from opera aficionados to complete newcomers, to enjoy an evening that feels as much like a concert, a comedy revue and a party as it does a theatrical performance.
One early moment that sets the tone beautifully comes just minutes in, when the five performers stride into a bright wash of light, not with a single straight-faced aria, but with playful expressions and exaggerated costumes that make you laugh before a single note is sung. That first blend of operatic line and physical humour, a soprano’s grand trill immediately undercut by a spontaneous pratfall, signals what Opera Locos is about: respect for technique, but relentless joy in playing with it.
What works especially well here is the smart interplay between musical mastery and comic choreography. When Carmen, the mezzo soprano with untamed energy, circles the stage with exaggerated swagger or when a glowering baritone throws himself into a ridiculous audience sing-along, the humour never feels cheap; it’s crafted with precision and timing that only seasoned performers can deliver. At the same time, the vocal work remains strong: even the show’s biggest laughs don’t undercut the fact that these are top-tier singers with real control and presence.
One standout example of this blend comes after the interval, when the cast teaches part of the audience to sing opera lines together. It begins as a gentle romp but turns into a moment of shared joy, with the theatre’s energy lifting collectively as voices rise and mingle. It’s a clever reminder that opera, often seen as distant or elite, can be communal, funny and accessible without losing its emotional power.
The show’s design also contributes to its infectious spirit. Costumes lean into bright colours, dramatic wigs and exaggerated formality, and lighting punctuates both a soaring aria and an absurd gag with equal flourish. Instead of a static proscenium, the stage feels like a playground: one moment you’re watching tragic opera emoting, the next you’re laughing at a perfectly timed pratfall or playful wink to the audience.
The Opera Locos succeeds because it balances heartfelt musicality with comedy that feels alive. Whether you’re hearing a familiar operatic phrase given fresh comedic life or singing along in a moment of joyful participation, the production makes opera feel accessible and unprecious and fun in a way that lingers long after the final bow.
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