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A darker, industrial and imaginative version of the visceral love story. See Carmen through Jose’s eyes. Summary
Rating
Excellent
Experiencing Johan Inger‘s Carmen is an electrifying affair, which is amplified by the masterful performance of the English National Ballet Philharmonic, under the baton of guest conductor Manuel Coves. For those new to the story, the ballet follows Don José (Rentaro Nakaaki), a disillusioned soldier, as he becomes captivated by Carmen (Minju Kang), a lively gypsy involved in illegal activities.
The opening act envelops the audience in an ethereal ambiance, illuminated by soft white lighting. A child, symbolising innocence, enters the stage with a ball, only to be juxtaposed against a dark force representing toxic masculinity.
Kang’s portrayal of Carmen is captivating, as she enters the stage in flamenco attire reimagined by the late Spanish designer David Delfín. Delfín’s innovative costuming gives Carmen a modern twist, portraying her as more than just a femme fatale – she embodies a woman filled with passion and independence. The bullfighter then exudes the aura of a rock star, while the military figures display glossy elegance.
As we travel through the reimagined streets of Seville, Carmen exudes charisma, her vivacious energy contrasting with the creeping darkness enveloping Don José. Her gift to him of a yellow rose foreshadows the complexity of their relationship, as yellow roses are the symbol of jealousy. Carmen’s rebellion against conformity sets the stage for her tragic demise.
The minimalist set design by Curt Allen Wilmer and Leticia Ganan is a stroke of genius, with meticulously arranged metallic prisms hinting at an imposing authority lurking beneath simplicity. This transformative set serves as a canvas for the characters’ inner struggles, seamlessly transitioning between scenes.
The climactic confrontation between Zuñiga, one of Carmen’s suitors, and Don José is depicted in a mesmerising matrix-like choreography, culminating in a shocking act of violence that leaves the audience breathless.
In the second act, Don José’s descent into darkness is palpable, as he grapples with the realisation that his hopes will never be fulfilled. Nakaaki’s portrayal is captivating, conveying inner turmoil even in moments of stillness. This is where the meticulously crafted lighting design by Tom Visser enhances every moment, seamlessly transitioning from vibrant hues to the bleakness of the soul’s darkest hour.
Carmen offers a modern interpretation of a timeless tale, weaving together elements of dance, music, and symbolism to deliver an unforgettable experience. Despite the tension built throughout the performance, the ending here feels somewhat rushed, leaving a sense of unresolved longing in its wake. However, although some may desire more closure, the journey itself is undeniably captivating, leaving an enduring impact on all who witness it.
Choreography: Johan Inger
Music: Georges Bizet and Rodion Shchedrin
Costume Design: David Delfín
Lighting Design: Tom Visser
Set Design: Curt Allen Wilmer and Leticia Ganan AAPEE with estudiodeDos
English National Ballet / Johan Inger’s Carmen plays at Sadler’s Wells Theatre until 6 April.
Further information and bookings can be found here.
