Music: Terry Davies and Rodion Shchedrin’s Carmen Suite (after Bizet’s Carmen)
Choreographer and Director: Matthew Bourne
The Car Man is a revival of Matthew Bourne’s 2000 ballet, based loosely on Bizet’s Opera Carmen, by his New Adventures Company. He makes a point in the programme notes of explaining how each new production evolves with a new cast and how so many of his young company aspire to play the roles in this modern classic.
The atmospheric setting by Les Brotherston sets the scene as we take our seats. We are in Harmony, a small mid-USA town in the early Sixties, where a busy garage requires a new mechanic to support the men working on the car repairs. You can sense the heat and erotic undercurrent as the girls watch and wait for the men to finish their work, hinting at the original production subtitle “An Auto-erotic thriller.” They gather around the table of Dino’s café under the sign “Man wanted.”
As the familiar opening music from Bizet strikes up, the men change from their dungarees, shower and dress for an evening out, leading to an explosive ensemble routine of boy-meets-girl, emphasising the passion, desire, and commitment of the cast. The gang-like behaviour on the street of an American town is reminiscent of the original West Side Story choreography with the energy, leaps, and synchronised movement. It’s sultry, sexy and passionate, with a hint of danger and reminds us that Bourne is a creative genius, creating fresh modern dance productions that are accessible to all. There are two casts with performers playing alternative roles on different nights.
The story is simple. Luca (Harrison Dowzell) drifts into town with a simmering sexuality that attracts the attention of Lana (Cordelia Braithwaite) and Angelo (Leonardo McCorkindale). He secures the job from Dino (Danny Reubens), husband of Lana, owner of the garage and the café where Lana’s sister Rita (Kurumi Kamayachi) works. The sexual tension bubbles through every dance as the five play out the narrative of jealousy and sexual attraction with a smouldering intensity. It is a wordless mime, although occasionally a breathless pant or shouted word adds to the storytelling and drama.
There are many exciting and telling scenes told through dance in beautifully choreographed solo, pas de deux or ensemble routines; Luca’s seduction of Lana, the attack on Dino, the abuse in jail of Angelo, the cabaret at Le Beat-Route nightclub, the bare-knuckle fight competition, and ultimately the confrontation between Luca and Angelo. Each is danced with fluidity, yet precision and control and an overriding brooding sensuality that is simply brilliant.
You don’t have to be a Carmen or ballet fan to enjoy this wonderful production. Just as with the marvellous World War II Cinderella, the exquisite Edward Scissorhands and elegant Red Shoes, Bourne demonstrates his mastery of the art. We have no doubt that they will be reviving this production for many years to come.
Runs until 29 August 2026
