Does the Dance World Need Another Carmen? From Barcelona's Compania Metros- Why Not?
"Carmen?" Again? After all, we already have Roland Petit's version that made Zizi Jeanmaire a star; Alberto Alonso's choreography for Maya Plisetskaya fitted precisely to her temperament; Mats Ek's version for Culberg Ballet; Antonia Gades' Flamenco vision on film; and coming soon a revival of Matthew Bourne's "The Car Man" which moves the characters from traditional Gypsy territory to a garage. Therefore, what could Ramón Oller, Barcelona-based choreographer, be thinking to give us yet another "Carmen"?
He must have been convinced his imagination would carry him to another "take." By making a few substitutions, like a Flamenco dancer for the Tarot cards that predict Carmen's ultimate destruction, to having her puffing on a cigar which she does with great relish, would be a good beginning. And it was. The action takes place in a space between two structures, ostensibly the rooftops of a cigar factory, that double as a bullring and also the plaza where the ultimate finale will take place. Joan Jorba has designed the set that serves the choreographer with exit and entrance portholes and intriguing levels. It is small, tight, sparse, and perfect. Carmen can lower herself through a large window, leap onto an adjoining building (with one jetee) or wrap herself seductively around the portals of a porch across the stage while she ponders how to seduce both Don Jose and Escamillo. Oller uses these set pieces to ingenious advantage while leaving the center area for his vigorous group dances as the men and women of the village kick, slide, scream, and "go at it" with decisive energy. In the center of this is Mari Carmen Garcia, pattering her Flamenco heel sounds that carry forth their ominous warning, whispering instructions into Carmen's ear, and generally having a joke on everyone.
Sandrine Rouet is a very different Carmen. Not voluptuous or sensual in an overt way, she is all grit and muscle, a no-nonsense health club trainer. Don't get in her way. She has the jumping ability of the finest danseur noble combined with the sinewy sexual strength of a long-distance cyclist. This Don Jose (Vincente Palomo) is not going to get out of her reach. Poor Michaela (Sau-Ching Wong) doesn't stand a chance but does get a last laugh when Don Jose is given his walking papers. Interwoven with flawless dexterity Oller brings on his couples with hearty choreography and splendid performances. But the tale is nothing without a central character that enthralls, and Oller has found that person in Rouet. Her sexual divertissements are among the most explicit seen in dance land.
Beautifully patterned shawls in vivid colors play as big a part in the choreography as if each were another dancer. From a bullfighter's cape to a bath towel tied around Carmen to cover her nakedness, the shawls are stretched and swung, folded and caressed provocatively like love objects. The choreography for the fabric in the hands of the dancers is as meticulously woven as the shawl itself, and often Carmen wraps herself in one and peers over the edges, watching the action around her with a cold, penetrating stare.
In the final seduction Carmen crawls through the window leaving Escamillo aroused and Don Jose livid, and when she returns she is dressed in a beautiful print party dress with the trademark red flower tucked behind her ear. She is ready for stardom only this scenario reads differently. Very differently! In the heat of the moment the spicket to water barrel is turned on, and water gushes across the stage floor. This is a highly theatrical device though we are still not thinking death by drowning. Where is the knife in Don Jose's hands?
Finally as the familiar tale draws to a close, Don Jose is tormented to the breaking point and takes his beloved Carmen by the neck, flings her into the water (which is considerable by now), drowning her as the music surges forward. A more dramatic ending to any ballet, whether predicted or not, would be hard to find. Oller has outdone himself not only with the unexpected finish, but also with the entire 80-minute production.
The music, by George Bizet & Martirio, is a seamless compilation of the two composers; one an international name, the other a Spanish folk artist, and it could not be better suited to the action. This is an edge-of-your-seat "Carmen." Even the though the world knows the Prosper Merimee story in opera, ballet, Flamenco, and contemporary dance, Rouet, Oller, and company keep the suspense high, and the soaking wet payoff is a superb knockout punch.