Carmen in Cuba?

I caught the second performance of the current run of Carmen at the COC this afternoon.  It’s a revival of the production previously seen in 2010 but with, we are told, debuting director Joel Ivany being given some freedom to change things up a bit.  Obviously he was mostly constrained to use the existing sets and costumes which, for reasons that escape me, transplants the piece to 1940s Cuba which was, as far as I know, markedly short of both gypsies and bull fights but there you go.  Actually it matters scarcely at all because both sets and costumes are generic scruffy Hispanic and could be anywhere from Leon to Lima.  For the first two acts too the blocking and Personenregie is pretty standard too.  It’s all really down to the chemistry between the singers and the quality of the acting and neither is anything to write home about.  It says a lot when Frasquita is scene stealing.  Fortunately it livens up a lot after the interval.  The third act is atmospheric and Micaëla’s aria is deeply touching and for the first time I felt genuine emotion.  It gets even better after that with a really effective use of the whole auditorium for the parade which had much of the audience clapping along and a clever stage set up for the crowd during the final confrontation scene.  I don’t think it’s a production for the ages but it’s better than merely serviceable and I’ve seen much worse Carmens.  And, frankly, it’s simply not realistic to expect one of the season’s cash cows to push the envelope very far.

Carmen-MC-4225

Continue reading