Review: THE CAR MAN, King's Theatre

First staged in 2000, Matthew Bourne’s The Car Man is a modern ballet that reimagines the opera Carmen. Set in a 1950s diner in the American Midwest, The Car Man is a nonstop ride packed with drama. 

Luca (Harrison Dowzell) is a drifter passing through a small town in America and sees a sign that reads “man wanted”. He’s a dreamy protagonist, strong and charming, and he’s kind to young Angelo (Jarrod McWilliams), who gets picked on. It is no surprise to anyone when Lana (Ashley Shaw) falls for him despite being married to greasy diner owner Dino (Alan Vincent).

The Car Man is probably some of the clearest storytelling I have ever seen in a ballet and definitely some of the most gripping. It’s not for the faint of heart, as it features nudity, sexual assault and a bit of blood. In a crime of passion, Dino meets his demise, and the blame is shifted onto an innocent party. 

Lez Brotherston’s set design is perfect for this gritty drama and it is particularly effective in the prison scenes with the cells as the backdrop. The dancers are at the absolute top of their game and are just a joy to watch from start to finish.

The Car Man is wildly unpredictable, and that’s verified by the number of audience gaps throughout the performance. It’s edge-of-your-seat type stuff that makes this a truly thrilling experience.

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