Review: CARLOS ACOSTA’S CARMEN, Richmond Theatre - Tour
Photo credit: Katja Ogrin
It was good to join the packed house at Richmond Theatre last night for the new extended version of Carlos Acosta’s Carmen, danced by the group he formed to showcase Cuban dance talent. Founded in 2015, Acosta Danza are a young and vibrant company who made the most of this opportunity to showcase their abilities.
A series of circles, perhaps suggesting the heat of the sun, form the setting (Tim Hatley), together with some barred elements, and descending lights in the second half. The set benefits greatly from Peter Mumford’s lighting and Nina Dunn’s video enhancements. Acosta has also added a number of dance sections to this extended version of the ballet, although it still only runs to a brisk 1 hour 37 minutes (including interval) – quite a change from some lengthy operatic versions. The audience were taken by surprise when the first half ended after 32 minutes.
The plot has been thinned down and simplified too, with most of the focus on the central trio: Carmen, Don José and Escamillo. The only other named characters are Zúñiga, an officer of the guard and the Bull. Costumes are mostly traditional in style, although made suitable for dance, and Escamillo wears the traditional suit of lights. The Bull is a powerful, looming presence, although it is not always clear what he portends. He is listed only as Bull in the cast, but in the interview included in the brief information sheet provided, Acosta talks about him as Bull/Destiny, which would explain his role.
That information sheet, unfortunately, has no synopsis and includes no biographical data. It is understandable that a printed programme might not be feasible for a short run, but a QR code to some digital information might have been provided. Acosta’s name combined with a well-known title means that there is likely to be considerable crossover appeal for audiences who may not regularly attend ballet, and who would benefit from more information.
At the performance we attended, Paul Brando glowered effectively as the Bull, and Brandy Martínez as the officer led many of the ensemble sections, themselves often characterised by rising excitement and impressive performances. The extended ensemble section at the beginning of the second act was particularly successful in welcoming Escamillo and suggesting the growing air of impending disaster. Whether clicking their fingers, leaping on tables, throwing bottles or just divesting themselves of some of their clothing, this ensemble were, in many ways, the stars of the show.
As Escamillo, Alejandro Silva was appropriately imperious, although his role involved less time on stage than the central pairing of Alexander Arias as a lithe and powerful Don José, and the lyrical and emotionally danced ‘Carmen of Adria Díaz’. It was all over far too soon, and the audience were ready for more from this talented young company. It’s an ideal title for Acosta Danza, who were well able to deal with the flamenco-infused sections as well as those more rooted in classical ballet. It would be good to see them dance some of the other work from their repertoire too: a company worth following.
**** Four stars
Reviewed by: Chris Abbott