Opera directors regularly take liberties with the work of dead composers, but this isn’t Carmen the opera, and Phil Willmott won’t be the first person to rob Bizet’s grave – Oscar Hammerstein did it for his musical Carmen Jones and Matthew Bourne for his dance piece Car Man. What Willmott has done is create a largely new story, set some 12 years before Prosper Merimee’s novella, on which the book for the opera was based, when Napoleon’s army had taken Spain. It’s inspired by a Goya painting, which appears to have dramatically changed his life. In two highly effective coup d’theatre, they create a tableau of this painting and dramatise the effect on Goya, who is the narrator.
There are elements of Merimee’s story – the cigarette factory and Carmen herself, now a resistance spy – but not a bullfight in sight. In essence, it’s the story of a fight for independence, though it sometimes can’t make its mind up if it’s Spain or Catalonia, in recognition of recent events. He’s placed Bizet’s tunes into this story, arranged by Teddy Clements, with new lyrics and book by himself. The recycling of the tunes works well.
Justin Williams & Jonny Rust’s design is excellent, as are the costumes of Penn O’Gara and the lighting of Ben Jacobs, and it’s a great use of the Union’s space. There are some thrilling dances choreographed by Adam Haigh, where recordings of Bizet’s orchestral score are used to rousing effect. Otherwise, it was played on piano, with occasional guitar. Rachel Lea-Gray was very good indeed as Carmen, supported by an enthusiastic and passionate cast of sixteen.
I’m not entirely sure what the point is, but there’s much to enjoy here.
Gareth's Culture and Travel Blog 
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