Matthew Bourne’s The Car Man Will Rev Your Engine

Jonathan Ollivier smoulders as "the car man," photo courtesy of Chronicle Live

             Whenever a production of Matthew Bourne’s comes to London, you can be sure that I’ll be there with bells on. This time around, I attended a performance of The Car Man for its short one week run at New Wimbledon Theatre. For my previous reviews (always bound to be glowing) of Bourne’s work, you can read about Swan Lake here and Edward Scissorhands here. Georges Bizet’s opera Carmen is having a bit of a moment, as I mentioned in my previous post about Carmen Disruption at the Almeida Theatre (find it here if you would like a brief overview of Carmen’s storyline).

New Wimbledon Theatre

             To begin with, Carmen is already a very sexually charged opera. When you pair that with Bourne’s sexually charged choreography in what he proclaims is a “dance thriller,” magic happens. Take the original Spanish cigarette factory and turn the set into an American 196os neon-lit garage-diner called Dino’s. Add in the famous scores that have been arranged by Terry Davies. What you’re left with is a testosterone-fuelled vision of the tale involving sweat, sacrifice, and of course, lots of sex.

Man wanted very much indeed...photo courtesy of Johan Persson

             A giant sign with imposing letters welcomed the audience to the small Italian-American town of Harmony, population 365. Just like the idealistic-sounding Pleasantville, Harmony is also the actual name of several locations in the United States. For the purpose of the performance, the sufficiently deceptive and clearly ironic name choice inferred the calm before the very big storm.

             When an incredibly masculine and muscular newcomer called Luca (played by hunky Jonathan Ollivier) arrived, he shook things up in ways he couldn’t have possibly imagined. Ollivier was precisely the dominating male lead The Car Man called for. He was equal parts brawny and believable, supported by a stellar cast and set design by Lez Brotherston. A car positioned on the left hand of the stage was the perfect prop for the dancers to slide all over or use for a quick sex romp.

Lana, one-third of the love triangle, photo courtesy of Chronicle Live

             The modern twist unexpectedly showed itself by way of bisexuality, or perhaps what we could call curiosity. Either way, the handsome stranger not only began to toy with the heart of a woman (Lana, Dino’s wife), but also of a man (Angelo, a bullied hired help). This made Luca the ultimate lusted-after individual, appealing to both sexes, each blissfully unaware of the tangled web “the car man” was beginning to weave.

Angelo faces off against Lana for Luca's affections, photo courtesy of Chronicle Live

             The Car Man was the most erotic of Bourne’s productions that I have seen to date. My mouth was on the verge of being agape for its entirety, but my eyes certainly compensated by staying wide open. My friend and I nudged each other and giggled like schoolgirls during the shower scene, where the macho car mechanics stripped down to nothing but a towel, hiding their modesty (just about) by a strategically placed horizontal bar.

No caption necessary *ahem,* photo courtesy of Johan Persson

             The dancing was raunchy and steamy as the dancers’ bodies were slick with perspiration. Mimicking sexual positions, there was no shortage of gyrating or thrusting and occasional nudity. The greasy garage men in their oil-stained wife beaters chased after the women who provocatively teased them. The energy reverberating from the stage pulsated intensely as audience members most likely fell into one of two categories: squirming in their seat or becoming a bit hot under the collar.

It's getting hot in here...photo courtesy of Chronicle Live

             The plot thickened when the devilishly good-looking Luca and the female object of his desire were fooling around and her brutish husband Dino (played by Alan Vincent, the original “car man”) returned. One thing led to another and Dino was killed. When the police arrived, Luca’s male lover seemed to be in the wrong place at the wrong time. In a flurry of confusion and cunning quick thinking on the part of Lana, the innocent Angelo was dragged away by police, leaving the guilty two to live happily ever after…

Lana's husband Dino (Alan Vincent, the original "car man") catches her in the act with Luca, photo courtesy of Johan Persson

             …or not. The saying goes “hell hath no fury like a woman scorned,” but in this case we would need to replace the woman with a man. Revenge is a dish best served cold and the pair who escaped their fate would soon receive their comeuppance after Angelo’s jailbreak. If you know the story, then you know that it ends with a very literal bang. I’ll leave it up to you to find out who in the love triangle receives the brunt of the blow.

In Angelo's case, "Hell hath no fury like a man scorned,"  photo courtesy of  Johan Persson

             Although The Car Man does mirror Carmen, Carmen ultimately gave birth to the car man. The Car Man stands completely on its own and brings something new to the Carmen circuit. Whether Luca, Lana, or Angelo represents Carmen is up to individual interpretation, but Bourne did not intend to capture another Carmen. He instead created a car man and beautifully at that. Bourne loves to push the boundaries and The Car Man certainly surpassed my expectations, quickly securing itself a top spot alongside my other favorite of his, Swan Lake.

             As the reworked performance came to its dramatic close, the same Harmony sign from before made another appearance, cheerily prompting us to “come again soon.” To Harmony? Perhaps not, but to Bourne’s productions? Always.

 The Car Man's stellar cast, photo courtesy of Johan Persson

             The Car Man is coming to London’s Sadler’s Wells starting July 14^th until August 9^th. Book here now to avoid disappointment.

             [Author’s Note: On August 9th, before he was due to give his last performance as Luca in The Car Man, Jonathan Ollivier was tragically killed in a road accident. I was truly heartbroken to hear this news, especially having witnessed him perform so beautifully on stage. My thoughts are with Ollivier's family and the dancing community, who have suffered a monumental loss of an unforgettable talent.]

Edward Scissorhands Cuts Straight to the Heart

             The true test of a great show is when the audience leaves wondering how the time could have possibly elapsed so quickly. Another is when the dance moves all look completely effortless, but you know that they are anything but easy. This is the power that choreographer/director Matthew Bourne holds with all of his dance productions. As the puppeteer who manipulates the strings, Bourne leaves you spellbound as a visionary fairytale is woven in front of your eyes. If you couldn’t tell already, I highly recommend Bourne’s work, having previously attended performances of Swan Lake (find my review here), Sleeping Beauty, and Nutcracker! Now I am able to add Edward Scissorhands to my ever-growing list. The show ends its run at Sadler’s Wells Theatre this month on the 11^th.  All tickets unsurprisingly sold out, so I apologize that they will be unavailable to purchase after I rave about it!

It's probably best that my friend and I leave it to the professionals...

             Bourne wanted to rework Edward Scissorhands for the stage ever since he saw the 1990 film directed by Tim Burton. The film has become a cult classic in its own right and usually pops up on television screens around Christmastime, just as it did this past year. If you don’t know the story, it follows quirky outsider Edward, who is the unfinished creation of an inventor who died before completing the job. Edward’s quest for love and acceptance proves not to be so easy, as his many efforts are thwarted and made more difficult due to having scissors for hands. The cookie cutter suburban town Edward finds himself in doesn’t know what has hit it!

 Johnny Depp, the Edward Scissorhands we have come to know and love, "teetered on the verge of tears throughout" Matthew Bourne's production and paid a visit to the cast backstage, photo courtesy of Sky TV

             Edward Scissorhands is a beautiful story in general, but when it’s coupled with tender dancing to music from Danny Elfman and Terry Davies, we are left with an even more melancholic and enchanting story. As with all of Bourne’s productions, the stage is a hotbed of activity. Since no talking is involved, the dancers have to rely on relaying nonverbal cues and facial expressions to the audience. This assumes a certain amount of perception from the audience members, because with such a busy atmosphere, it is up to us what we decide to hone in on and what we decide to leave in the periphery.

Domesticating Edward, photo courtesy of Johan Persson

             For example, take the scene where the residents attend a Christmas dance. Edward starts to feel awkward and ashamed as he sizes up the dancers around him, each with two perfect hands. He cowers away from the dance floor, opting instead to slope around the outskirts. The embarrassment on his face is apparent and the longing he feels for Kim, who is dancing with her boyfriend Jim, is written all over his face. I divided my attention between the rest of the cast dancing and Edward, because by himself, his body language and pained visage told a story of its own accord. Details like this are precisely what will draw audiences to Bourne’s productions over and over again. Your observational skills and level of appreciation will continue to grow right alongside your number of viewings.

Photo courtesy of Johan Persson

             The idyllic neighborhood is made up of quaint homes and quaint people. The houses are painted in cheery hues, with cheery faces that emerge and retreat from their doors. There are the obligatory cheerleaders, jocks, doting mothers, and hardworking fathers. Despite appearances, the town holds its fair share of secrets as well. Joyce is a lonely housewife who regularly cheats on her husband and that shines through in her brilliant, sexualized dancing persona. She tries to seduce a very confused and frightened Edward, while the religious fanatics try to repel Edward with their crosses and prayers.

Photo courtesy of Johan Persson

             The breathtaking set borrows recognizable Burton-esque elements from the film. However, as to be expected, there are unique alterations that add a spin to the original. Edward finds nifty alternative uses for his “hands,” such as pruning bushes and hedges into animals, ice carving (which involves a scene with a gorgeous ice angel sculpture prop), and even making a job out of giving the neighbors “edgy” new haircuts. The production introduces a lovely dream sequence where Edward imagines that he has real hands. He is able to flirtatiously chase Kim around a garden made up of shrubs and trees decorated into shapes, which are actually people. They playfully join Edward and Kim’s game, concealing and revealing the two blissful imaginary lovebirds.

Edward and Kim share a tender moment, photo courtesy of Johan Persson

             As for Dominic North, who plays our antihero Edward, anyone who can forgo opposable thumbs, trade them in for workable scissors (albeit false ones), and still manage to dance gracefully must automatically be dubbed as a seriously standout dancer. Indeed, North was nominated for Outstanding Male Dancer at the National Dance Awards in 2010. The irony of Edward Scissorhands though is the fact that Edward is gentle and peaceful. He doesn’t use his “scissorhands” with malicious intent, although he could well do. Jim, however, is rough and ready with his hands, using force with Kim and having an eventual blowout with Edward.

The neighborhood kids, with Kim and Jim front and center, photo courtesy of Johan Persson

             The story stands as a testament to human nature; we lash out against and attack what we don’t understand. Just as we are about to claim that nice guys don’t always finish last and Edward and Kim finally kiss, Edward is exiled once more to his former house upon the hill. As the cast took their final curtain call, they stayed in character until the very end, and as the applause subsided, we were all left wondering how the time could have possibly elapsed so quickly.

             For upcoming performances at Sadler’s Wells, visit the theatre’s website here. Explore the Edward Scissorhands production on the New Adventures website here. New Adventures is Bourne’s company with co-director Robert Noble.

Photo courtesy of Johan Persson

Matthew Bourne’s Swans Fly South for the Winter

             This past weekend, I travelled to Manchester by way of a very convenient two-hour train journey. You might be wondering what this has to do with London-related events, the chosen theme of this blog. Well, not only was I in Manchester to visit my relatives, but a viewing of Matthew Bourne’s production of Swan Lake also featured on the agenda. Swan Lake will be coming to London’s dance theatre, Sadler’s Wells, on December 4th, but I had the opportunity to see it firsthand up north at The Lowry Theatre.

             I openly attest to the fact that I am a fan of Bourne’s, having previously seen his ballets Nutcracker! and Sleeping Beauty, the former at The Lowry and the latter at Sadler’s Wells. However, Bourne prefers to classify Swan Lake as contemporary dance/theatre rather than ballet. Bourne is a British choreographer and director and is the recipient of five Olivier Awards and the Tony Award, an award to recognize excellence in Broadway theatre, for Best Choreographer and Best Director of a Musical. He was the Artistic Director of his company, Adventures in Motion Pictures, from 1987 to 2002. Alongside co-director Robert Noble, Bourne erected his current company, New Adventures.

             Swan Lake has been running strong for 18 years since it first debuted in 1995 at Sadler’s Wells and it still continues to challenge our ideas of typical gender roles today. Bourne chooses to cast all-male swans, with not a female swan in sight. To some, the idea might seem laughable, but what this new role designation creates is an aggressively charged and highly athletic performance, something that simply would not have been possible with the traditionally feminine tutu-clad swans. However, music by Pyotr Ilyich Tchaikovsky in all its perfection is not tampered with despite Bourne’s otherwise modern twists.

             The original Swan Lake storyline follows Prince Siegfried, who falls in love with Odette, the Swan Queen. Bourne’s Swan Lake is less about love than about affection. Referred to as The Prince (Sam Archer when I attended) in Bourne’s rendition, he is stunned by the powerful beauty of a male swan (Glenn Graham when I attended) and they quickly form a mutual bond. The Prince is often rejected by his mother, The Queen (Michela Meazza when I attended), but The Swan offers him a new sense of purpose and direction for reciprocated fascination. Swan Lake has been characterized by some as homoerotic, but the onstage chemistry between The Prince and the Swan defies sexual orientation and should be translated as undeniable in-“Bourne” talent on the part of the dancers, regardless of underlying inclinations.

Sam Archer pictured as The Prince (left) and Jonathan Ollivier as The Swan (right), photo courtesy of London Calling

             I was enraptured by the very strong stage presence of the male swans with their toned chests, synchronized movements, and exceptional poise. I cannot diminish the female characters however, as their glitzy ensembles were tantalizing in their own right and their soft nature complemented the male figures’ abrasiveness. The original Swan Lake features Odile, the Black Swan to Odette’s White, an imposter to trick Prince Siegfried. Graham donned all black and leather trousers in Bourne’s masterpiece, shedding his powdery white skin and feathers to torment The Prince, slinking his way around the stage like a top-class seducer, everyone in the palace (and the audience) falling at his feet.

Photo courtesy of Show & Stay

             Whilst debatable if Swan Lake is indeed homoerotic depending on your standpoint, there is no question that it is erotic. My favorite scene occurs when The Prince is asleep in his room and swans suddenly crawl out from beneath his bed, their stretching arms the only discernable body parts upon first glance. They are soon accompanied by The Swan, who wiggles his way out from underneath The Prince’s sheets. The male swans’ arm movements are utter precision, especially when paired with the dancers’ conviction in their nuzzling, fighting, hissing, and squawking. Throughout the performance, they imitate the gracefulness of actual swans while preserving a pristine composure, even in the face of excessive amounts of exertion.

             Bourne creates subtleties in his work and pays inordinate attention to detail. The eyes have to overcompensate in order to keep up, because Bourne visually overloads the audience, making it nearly impossible to capture everything going on at any given time. It could be observed in a sly look or a mini scene captured within a bigger scene. Bourne also likes to incorporate elements of humor in his work, as evident with the role of The Prince’s girlfriend (Kerry Biggin when I attended). During a ballet within the actual ballet, her phone goes off with an all too recognizable tone, much to the chagrin of The Queen and The Prince. Popular culture such as this is easily identifiable, with flashes of paparazzi’s cameras and the pink neon flicker of the Swank Bar sign. The props earn a rightful place on stage just as much as the dancers. I had to reign myself in to remember that I was watching a dance performance.

The Lowry Theatre in the background with my grandparents aptly and unknowingly featured in the foreground

             The only part of Swan Lake that seemed to drag on was the 20-minute intermission, because the entire show glided effortlessly from its triumphant start to its heart-wrenching conclusion. The performance is grossly absorbing and all of its magic comes just in time for Christmas. The Lowry was surrounded by stalls of Christmas treats and goodies outside and the Lowry Outlet Mall just across the way already had their silver trees and shimmering lights out on display. After the performance, all I could do was sing the praises of Swan Lake,over a plate of fish and chips no less!

             The Lowry proved to be full to the very back row, so book to see Swan Lake in London here and view the show’s official website here. Swan Lake will run at Sadler’s Wells from December 4th to January 26th until the swans take flight for their next destination.

             [Author’s Note: I mentioned briefly in an earlier post that I contribute to my university’s online newsletter, The Gazelle. As well as remaining a staff writer, I now also hold the position of Arts and Entertainment editor. Today, December 10th, I can proudly announce that we have released our second print edition, where my above review of Swan Lake has been published.]

The Gazelle pictured against the Christmas tree that is currently adding festive cheer to my flat