A story of electrifying sex appeal: Bourne’s reimagining of the classical opera Carmen is simply
flawless. Although performed 151 years after the original, Bourne and the cast impeccably maintain
the tantalising, sex-driven, shocking masterpiece that was so monumental when first performed.
Set in a steamy garage-diner of 1950s small town America, inhabitants are ruled by their murderous
desires and find themselves enthralled by an elusive, handsome stranger. Through a thrilling
dance-based composition, relationships are formed just as quickly as they are killed. I found myself wholly wrapped up
in the sweat, grease, and sex of it all.
In choosing to add queer plot lines to this classical production, Bourne made an already passionate
narrative all the more intense. The love triangle, turned square, instantly grabbed me. It felt chaotic
and messy much like tangible, real love. At the edge of this square was Rita, played by the unmissable
Anna-Maria De Freitas, whose exceptional performance of perfectly extended lines and emotionally
fuelled movement was the pinnacle of the performance. Lit by unforgiving white spotlights in slower,
lyrical dance segments, Rita and Angelo (Leonardo McCorkindale) had some of the most raw and
genuine moments in the entire performance. Their chemistry did not need dialogue.
Having a performance with sparse dialogue places such a great emphasis on the quality of movement, lighting,
and score to reflect mood and atmosphere and The Car Man did not miss the mark. The dancers’
synchronisation with the soundtrack elevated both silences and crescendos, as even in moments of
stillness you could hear the frantic breathing of the characters. It was elevated beyond the world of
scripted theatre. Utilising the orchestral arrangement of Bizet’s Carmen married this performance to
its origin while using contemporary dance and set to elevate its accessibility to a modern
audience.
It was refreshing to see a stage so well set in an era of theatre that is rather reliant on minimalist
staging as a means to reinvent scripts that have already been performed many times before. The
performers weren’t simply in front of the staging, they were immersing themselves in it. Through
climbing up ladders, disappearing into windowed rooms, and driving beaten-up cars, a real sense of
the community based, small town world was created. Thrillingly so, the characters were isolated and
wrapped up in their own melodramas and sexy scandals within this town.
The Car Man is playing at Festival Theatre until 7 November. You can buy your tickets here.
Image by Johan Persson provided to The Student as Press Material.
