The Car Man, Matthew Bourne’s acclaimed ballet, made a triumphant return to The Lowry’s Lyric Theatre on 23 June. Bourne loosely based the story on The Postman Always Rings Twice, James M. Cain’s 1934 novel and its celebrated 1946 film adaptation, before reimagining it through the music of Bizet’s Carmen.
All the powerful undercurrents of the original works remain, alongside several ideas that are uniquely Bourne’s own. The setting has changed from Carmen’s cigarette factory in Spain to a repair garage in the town of Harmony – a sweltering Midwestern town in America. The stories are well known, and the end is just as explosive. It’s brilliant.
SPOILER ALERT (skip the next 3 paragraphs)
A handsome drifter named Luca arrives in town and takes a job as a mechanic. He catches the eye of Lana, the wife of garage owner Dino, and their mutual attraction sparks an affair that inflames passions throughout the community. Luca also begins a secret relationship with Angelo, a shy, bullied, and naïve young mechanic.
When Dino discovers he has been betrayed, a violent confrontation ends with his murder. Lana and Luca frame Angelo for the crime.
As guilt and paranoia begin to consume Luca, he and Lana flee to start a new life together. However, the town’s thirst for revenge and the consequences of their actions soon catch up with them, leading to further tragedy and a final reckoning.
END OF SPOILER
As might be expected, this was a quality production directed and choreographed by Matthew Bourne and orchestrated by Terry Davies. The dancing was excellent, and there were a few moments of humour to lighten the ever-darkening path to the end. Bourne also broadens the story, exploring desire and manipulation in several directions rather than simply retelling a conventional love triangle.
The cast changes from performance to performance, but on this occasion Angelo (Leonardo McCorkindale) portrayed the bullied underling superbly; Luca (Will Bozier) had exactly the right amount of swagger; Lana (Cordelia Braithwaite) was a convincing femme fatale; Rita (Anna-Maria de Freitas) provided steadfast support for Angelo throughout; and Dino (Alan Vincent) captured the character perfectly, by turns friendly and intimidating.
Everyone on stage gave their all. The dancing from the whole cast was superb, the lifts and drops (sometimes with the women lifting the men) were amazing, and the synchronisation in the “crowd” scenes was spot on.
The set (designed by Lex Brotherston, who also did the costumes) was outstanding, morphing from a garage to a diner, and again into a cabaret bar. The lighting (by Chris Davey) was first-class, and the sound (by Paul Groothuis) was fantastic.
All in all, this was a magnificent revival of one of Bourne’s finest works. The combination of outstanding choreography, superb performances, and a gripping story, together with the excellent set, costumes and lighting made for an unforgettable evening. For a taste of things, click HERE.
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Paul Schofield for Canal Street Online.