Carmen at Sadler’s Wells

Prosper Mérimée’s tragic tale of passion (turned into the famous opera by Georges Bizet), sees its UK premiere in a masterful adaptation from visionary Swedish choreographer Johan Inger, emboldened by the English National Ballet.

A young girl casually bounces her basketball against some lockers, when suddenly a masked man in black approaches menacingly, with another three males joining shortly afterward. The suited figure stands aback, watching the group strut their stuff, trying to impress the female ensemble, including the electrifying Carmen (portrayed by an enchanting Minju Kang). The dancers are all dressed in various colours, ranging from salmon and forest green to white and crimson; these become more subdued in later darker scenes, through David Delfín’s inventive costume design.

One of the stand-out elements in Inger’s production is the music, clicking castanets and flamenco guitar melodies signifying the Spanish style, while stage production design from Curt Allen Wilmer and Leticia Gañán Calvo imbues conceptualism at its foundation. Mérimée’s Seville, and with it, the tobacco factory, has been transformed into a minimal non-specific space, with geometric lines mirroring those of the dancers. Bizet’s music is utilised and orchestrated by Rodion Shchedrin, completely capturing the passions, violence and jealousies at the heart of Carmen. Alongside Shchedrin’s music are pre-recorded compositions by contemporary producer Marc Álvarez that go perfectly with the more classical segments.

Don José (Rentaro Nakaaki) falls head over heels in love with Carmen and will do anything to keep her. The two dancers’ chemistry is palpable, which makes the eventual tragedy even more believable; in one hot scene, she squeezes orange zest into his gaping mouth, and at several points spreads her legs, where they both become endlessly entangled. Kang’s lithe movements, and freedom of physical expression, is complemented by Nakaaki’s bold and heavy arrangements. While the so-called “femme fatale” flirts with many men along the way, (and has a fling or two), Don José’s fixation only intensifies. When she meets the swaggering Toreador (a striking performance from Erik Woolhouse) there is also a charged passionate chemistry in their final pas de deux, blurring the lines of Carmen’s loyalties.

She’s determined to remain a free soul, though confronted by oppressive possession on all sides. Inger intended to keep male violence at the core of his adaptation, but a more expansive exploration into the female psyche would have added a further layered level of interest. All in all, Carmen’s spirit is well and truly alive.

Selina Begum
Images: Laurent Liotardo

Carmen is at Sadler’s Wells from 27^th March until 6^th April 2024. For further information or to book visit the theatre’s website here.