Johan Inger’s Carmen, which he created for Compañia Nacional de Danza in Madrid in 2015, is an uncomfortable watch. Anyone hoping for hints of sunny Spain might feel short-changed. This is not a good enough reason to avoid it however. On the contrary, it would be interesting to watch each of the four different casts that English National Ballet are currently offering at Sadler’s Wells.
Inger’s retelling of the story is based on Prosper Mérimée’s novella rather than the plot of the famous Bizet opera and, as the drama unfolds, it reflects on Don José’s (Rentaro Nakaaki) psychological state rather than simply focusing on Carmen’s (Minju Kang) numerous sexual conquests. Its setting and timescale are not specific, and thus the complexities playing out could be taking place in today's society. The theme which emerges is topical: men’s violence towards women. Inger states that he wanted to address the domestic violence that is evidenced in the book. The results are disturbing.
There is an innocent bystander, The Boy (Francesca Velicu), who one assumes represents the wider fall out of abuse. The happy family scenario is briefly imagined but we see the trail of destruction. It is Don José’s obsession with a woman who he knows he can never have that reveals the essence of this bleak tale: if he cannot have her, he must make sure no one else can.
The sets are simple and functional with nine moveable prisms (Curt Allen Wilmer and Leticia Ganan AAPEE with estudiodeDos). Lighting design by Tom Visser is excellent whilst inevitably exaggerating the doom-laden scenario.
The music is a big driver, using Rodion Shchedrin’s adaptation of Georges Bizet’s original score. With additional music by Marc Álvarez, it may not please purists but I enjoyed the different textures, especially with percussion. The ENB Philharmonic, under the baton of Manuel Coves, were terrific.
Whatever the gut reaction is to Inger’s dark reimagining of Carmen, he has given the dancers ample opportunity to immerse themselves in his unique vocabulary and more importantly, the scope for developing vivid characters. Unsurprisingly, ENB embraced every aspect of this work with their usual attack and commitment. The ensemble numbers were earthy but fleet: movements were expansive, amplified. I wasn’t so keen on the figures in black, rolling across the floor, though one accepts that this was a way of depicting Don José’s unravelling mind.
The Cigarreras were suitably salacious and lively. Particularly vivid – and bitchy – was the fight between Manuela (Sangeun Lee) and Carmen. The Guards and Dogs had some of the most inventive but effective sections of choreography. James Streeter as Zuñiga, Don José’s commanding officer, gave a chilling, repellent account of this misogynistic character. As with everything Streeter tackles, he tends to make the viewer squirm, as he convincingly wears the mantle of whichever role he is dancing.
Nakaaki has proved before that he is capable of producing first rate performances, none more so than in narrative works. Witness his exemplary performance in the title role of Akram Khan’s Creature or as the Son in Andrea Miller’s Les Noces. As Don José, he managed to extract little, if any sympathy as he faced rejection from Carmen and his vicious, fatal attack on her provoked conscious contempt. His dancing is high on energy and powerful.
It was very good to see Kang back in a leading role and particularly one that suited her so well. She too, acts as well as she dances. Her Carmen was feisty, as of course she should be, but Kang strongly conveyed that she was her own person, not cowed by anyone. The duets with Nakaaki and indeed her other suitors, were sensual whilst displaying a steely confidence.
The highlight, if one can call it that since the subject matter is so serious, was Erik Woolhouse as Torero. With his slinky leather trousers and glittery jacket, Woolhouse fairly seduced the entire audience. In a performance that was an object lesson in how to be tantalisingly alluring, his dancing was also impeccable.
If there is little to be joyful about in this production, I believe Inger has made an honest version of Carmen that resonates deeply in today's climate. I, for one, will return to see alternative casts.
