Bizet's 1875 opera Carmen, one of the most popular operas of all times, has had many iterations. Among them are the 1954 film, "Carmen Jones," starring Dorothy Dandridge; a 1983 flamenco-based version, the 2000 dance version, "Car Man: An Auto-Erotic Thriller," the 2001 "Carmen: A Hip Hopera," and many more. If you are a purist and prefer Bizet's music, read no more, but please remember that his opera was, in fact, an iteration of Prosper Merimee's 1845 novella. Director Franco Dragone's uniquely staged Carmen retains the storyline in a period setting.
Sarah Miles is quite a double threat as both the writer of the book and the choreographer. (She leaned heavily on Flamenco specialist Omayra Amaya.) John Ewbank's music, totally non-Bizetian, is enhanced by AnnMarie Milazzo's lyrics and vocal arrangements as well Roque Banos' knowledge of Spanish music. Doug Katsaros' orchestrations offer a big, contemporary sound. Ryan Silverman's brash, exciting Jose also has a very strong voice. Shelley Thomas as the betrayed Micaela haunts a few scenes as an observer, not a participant. The mainly young, energetic cast perform with zeal. They are exciting to watch.
It is, however, the lovely Janien Valentine as the tragic Carmen who takes center stage. In the Flamenco dance sequences, as well as some of the staged action, one wonders how she will survive the production. She is dragged, thrown and pummeled many times in the two and a half hours of the show.
Carmen, as conceived by Director Franco Dragone and his talented staff of designers and technical wizards, is definitely not for everyone. The backing is curved from the proscenium to about 25 feet back at center stage. At one point, it's topped by a huge additional wall. Klara Zieglerova's set is heavy greys with a projected background of sky, moving moon and clouds. Christopher Akerlind provides an extensive variation in lighting. Costumer Suzy Benzinger adds color, especially to the gypsies, while staying in the period. In keeping with the contemporary production. Francois Bergeron's sound design is bassy and loud.
I am sure the heaps of criticism piled on this version of Carmen would have been tempered had the show been called "Jill" or "Carrie" or some other name that would not have automatically brought the critics to think of Bizet's masterpiece. This Carmen is an excellent production with an exciting cast. The audience raved and gave it a standing ovation; I highly recommend it. Just don't have any preconceived ideas other than its being based on a story about a wanton, cigar-rolling wench who has her own ideas of morality and meets her fate.
