The Car Man - The Lowry - 6/11/07 by Kashif Naveed

When Bizet conjured up the operatic masterpiece Carmen, little did he know how hugely popular it would eventually become. Given that it was declared a failure in his lifetime, surprise would be an understatement. Such is the popularity of Carmen that it has become one of the most performed Operas in the world today.

One of the few to rise above the many versions is Mathew Bourne’s The Car Man (Did you see what he did there, Car Man ... Carmen ... genius!) whose premiere in 2000 was lavished with a plethora of plaudits as well as garnering several prestigious awards. It's revival in 2007 has once again seen packed auditoriums and critics rushing to acclaim the genius of Bourne.

The Car Man sees the story updated and transposed to a small Italian American community in the fictional mid-western town of Harmony. When I say updated I mean that it takes elements and inspiration of the original story such as lust, passion, revenge and murder and introduces a new plot for perhaps a newer generation. Bourne suggests in the programme notes that it was solely this reason that lay behind his version when commenting: “…we’ll tell a different story and that’s what really inspired me and made the whole thing feel like an original project.”

And the basis of that story seems to be more film noir and akin to what one would find in James M. Cain's novel The Postman Always Rings Twice. Furthermore, the music for the ballet is based on Russian composer Rodion Shchedrin's Bolshoi Ballet version of Georges Bizet's opera Carmen and as this lasts only a mere trifling 40 minutes, the rest of the shows music has been commissioned from Terry Davies.

It is clear from the outset that Bourne views the show as being more than just about dance, but how he can use music of Rodion Shchedrin to evocatively convey the story he has to tell. His forte being in dance, it is hardly surprising that the wonderful choreography of the production is breathtaking to watch. Bourne along with his company of dancers easily convey the nuances of the music that they try to portray as well as the plot that unfold before the audiences eyes. Indeed, such is the high level of the cast that their acting skills are held is just as high regard as their nimble footwork.

Yet, it not just their acting and dancing repertoire that adds to the production. The set and costume design by Lez Brotherston is a visual feast and unlike many other productions is more than a mere prop. Its clever use is able to add to the story that Bourne conveys, especially in the beginning when the mechanics head upstairs to shower and change. The skills of Chris Davey as Lighting Designer are also utilised to the fullest, with his subtle flasses of genius also contributing to Bourne’s ballet.

Add all the elements together and what you are left with his something to behold. A visually stunning feast that leaves you completely lost in Bourne’s fantastical world.