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A failed attempt at reviving the classic that falls flat in form over substance.Summary
Rating
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Carlos Acosta, one of the most recognisable figures in contemporary ballet, retired from the Royal Ballet in 2016, his final piece with them being a new take on the classic Carmen. Originally written in 1875 by French author Prosper Mérimée, it was adapted by Danza as a one-act performance. Since then he has been running his own dance company, Acosta Danza, with whom he has expanded the work, reserving an extraordinary role for himself: The Bull. According to Acosta, The Bull is the master of ceremonies who pulls the strings and controls everyone’s future.
Carmen tells the story of a seductive gypsy in Seville who captivates the brigadier Don José, leading him to abandon his military career. However, Carmen’s affections lie with the matador Escamillo, setting the stage for a tale of jealousy and irrevocable fate.
The show opens with The Bull (Acosta) lurking on stage, accompanied by an evocative set piece; a large circle at the back of the stage symbolises the wheel of fortune that will decide Carmen and José’s destiny. The narrative structure presents the end of the story first, with The Bull acting as the master of puppets, who resets the scene to show how events unfold.
The production is rather mixed. The opening scene is sensual, with a flurry of clothes and a dance reminiscent of Magic Mike rather than traditional Carmen. Then one of the strongest scenes is the seduction in the prison, where Don José believes he can tame Carmen. Instead, Carmen subverts his expectations, showing she is no lion to be tamed. In the second half, The Bull sets the wheel on fire, sealing the characters’ fates. The action moves to the taverns of Seville, where the choreography becomes livelier and more exciting.
The lighting design by Peter Mumford is effective, casting shadows and evoking the characters’ emotions. But despite the clear intention and effort behind this production, many ideas feel underdeveloped. The roles of Carmen and Don José come across as stereotypical and lacking depth. Carmen’s portrayal as merely a tease and Don José as clingy diminishes the protagonist’s essence as an independent woman who rebels against oppression.
Tim Hatley’s costume design is overly traditional and simplistic, failing to add value to the production. Initial projections start strong, with dreamlike landscapes, but quickly become ordinary. Similarly, the set design feels too rudimentary and simplistic to capture the show’s intended emotional complexity.
Moreover, the choreography lacks innovation, offering nothing we haven’t seen before. Although Acosta attempts to infuse his Cuban roots into the performance, it feels diluted for a more global stage, losing its unique flair in the process.
Overall, while Acosta Danza’s Carmen has moments of brilliance, it needs more cohesive development and originality to fully realise its potential.
Created by: Carlos Acosta
Music by: George Bizet
Arrangement by: Rodión Shchedrin
Set and Costumes by: Tim Hatley
Lighting by: Peter Mumford
Acosta Danza: Carlos Acosta’s Carmen, plays at Sadler Well’s Theatre until Saturday 6th July.
Further information and booking details can be found here.
