It’s been unspeakably hot in London for weeks, but it seems the temperature is about to cranked up even more. Matthew Bourne’s sultry dance reinvention of Carmen has returned to Sadler’s Wells in all its sweaty, grimy glory after a decade off-stage, and its timing couldn’t be more apt.
Set in the 1950s in the fictional town of Harmony – a midwestern Italian-American community where the residents appear to be permanently horny – The Car Man’s plot mashes up Bizet’s passionate opera (it uses the Rodion Shchedrin score with additional music by Terry Davies) with the erotic noir The Postman Always Rings Twice. We meet Luca (the formidable Will Bozier), a drifter who arrives in the dusty enclave looking for work. Upon his arrival, Luca causes quite the stir as he effortlessly cartwheels over diner tables and jibes the mechanics with threats of fisticuffs. Oozing raw masculinity, he immediately catches the eye of the wily waitress Lana (Ashley Shaw), as well as the naive dogsbody Angelo (Harry Ondrak-Wright), and a love triangle begins – when The Car Man premiered in 2000, it was the first depiction of bisexuality in a ballet.
I won’t ruin the plot, but it’s deliciously melodramatic, and buoyed by the highly atmospheric set and lighting, designed by Lez Brotherston and Chris Davey, respectively. The steamy mood is enhanced by plenty of literal mist, as plumes of hot air float across the stage almost constantly, rising from the cars of the garage. There’s also the grinding of metal, letting off exhilaration sparks around the dancers’ feet, and hulking, moving 1950s-style cars. Add copious amounts of fake blood and a splash of full-frontal nudity, and you’ve got yourself a thrillingly theatrical production.
The cinematic references come in abundance – there are hints of West Side Story, Chicago and Jailhouse Rock. On the noir side of things, the fantastic lighting design relies heavily on red and blue neon lights as well as stark spotlights contrasting shadowy backgrounds. At one point the headlights of a car shine directly out onto the audience, blinding us. It is confronting and decisively uncomfortable.
The performances are flawless. Harry Ondrak-Wright executes a Dr Jekyll and Mr Hyde-like transformation from sweet hired help to a jaded and institutionalised villain. Danny Reubens is wonderfully greasy as the diner owner and husband of Lana, Dino. In one pivotal scene he slithers along the floor pathetically, his pot belly dragging beneath him. Another standout performance comes from Anna-Maria de Freitas as Rita, whose raw and emotional movement feels utterly truthful.
Packed with Bourne’s trademark theatrics, a smattering of humour, and some unforgettable performances, The Car Man is one of the choreographer’s best works. Sitting through two hours of this spicy show might leave you feeling a bit overheated, but it will be worth it. Just don’t forget to bring a fan.
