Review: Heartwarming And Hilarious, CARMEN LIVE OR DEAD Contemplates What Could Have Come From The Romance Of The Russian Revolutionary and Mexican Surrealist

Sunday 29th April 2018, 6:30pm, Hayes Theatre

The unusual, and completely imagined, life of Carmen Frida Leon Davidovich comes to life in the delightfully absurd CARMEN LIVE OR DEAD. Finally making it to the Sydney stage after Carmen was first conceived in 2014, this collaboration of theatre and cabaret heavyweights, including composer and lyricist iOTA and director Shaun Rennie, comes together to both entertain and enlighten the audience as the exotic love child's life is laid bare.

With a basis in truth where famous Mexican artist and political activist Frida Kahlo did actually have a brief affair with Russian revolutionary former soviet politician Leon Trotsky, one of many of Kahlo and her husband Diego Rivera's many extramarital affairs, CARMEN LIVE OR DEAD considers what if a child came of that union. The story is essentially a one woman show presented on the day Carmen (Natalie Gamsu) is expected to die which also happens to be the Mexican Dia da Muertos, Day of the Dead, helping to explain the painted faces of her assistants, pianist, guitarist and musical director Angel (Andrew Kroenert) and stage manager and violinist Delilah (Stefanie Jones). Carmen recounts her life which had a number of unusual twists in it, from the need to flee her home and be secreted in a convent after her father was assassinated and she and Trotsky's other children became targets, to the discovery that she was intersex, or a hermaphrodite as it used to be known as and a term she prefers due to its more exotic sound. With a life on the run from the Stalinist agents out to kill her, she finds herself travelling all over the world with the most unconvincing part of the concocted story being that she ends up in Woy Woy on New South Wales' Central Coast.

To reinforce the carnival side show act aesthetic set designer Dann Barber has created an intimate raised timber stage adorned with painted fabric backdrop, flower adorned false proscenium and legs along with a partly painted scrim. To say that this set is painted does not do Barber's work justice, the detail in the set being worth seeing the show alone as he draws on Kaholo's works to include images of Carmen's parents along with representations of her life, culture, community and family including an impressive family tree on the backdrop. Benjamin Brockman's lighting helps to transport the story from the Carmen's direct delivery to moments where she is caught in her memories or recreating scenes from her past, from the traumatic night time escape to sitting by the Australian beach. Shauna Lovisetto's costuming is equally engaging with Carmen arriving in skin tight black leather pants, knee high boots, corset and bustle cage with highlights of colour and sparkle coming from the embroidery on the corset, a rhinestone fringed codpiece and headpiece of woollen flowers. Her assistants and musicians are presented in more conservative traditional attire of pants, white shirt and plain waistcoat for Angel and a white lace and cotton dress for Delilah, with both bearing the characteristic makeup of the Dia da Muertos' adorned skulls.

Kroenert and Jones deliver a beautiful accompaniment to the diverse range of musical stylings that iOTA has fit into the 75 minute work and they provide a predominantly mute support for Gamsu's performance. This gives a beautiful mystery to the two characters, particularly Delilah which Jones delivers with some delightful facial expressions as she tries to capture Carmen's spotlight. The star of the performance is naturally Gamsu who has wonderful warmth and depth to her vocals and a dark sassy style as she creates a sensual and passionate Carmen. As with the carnival tent atmosphere that the stage implies, the performance also reaches out into the audience with participation encouraged and expressions of adoration expected. Gamsu presents Carmen with an honesty and humanity, making the story believable, well, up until falling in love with a lifesaver from Woy Woy. She draws out the emotion along with the humour and the education of the science of being intersex is presented with ease and respect ensuring that the work doesn't become too serious whilst still ensuring that it is not mocked.

A gorgeous new cabaret work that will have you laughing and close to crying between drinking in the wonderful set. Teaching love, respect, acceptance and compassion whilst interacting with the audience and in only seasoned cabaret performer can, make sure you see CARMEN LIVE OR DEAD and allow Gamsu to charm and delight with this delicious production.

CARMEN LIVE OR DEAD

Sydney: Hayes Theatre 28 April - 6 May 2018

Adelaide: Banquet Room Adelaide Festival Centre 20 and 21 June 2018