White Rock Theatre, 25 October 2014

Fraser Grant points out in his lucid programme article that the very popularity of Carmen makes it difficult for a director to bring fresh light to the narrative. In many ways his approach is successful in focussing on the individuals in the drama rather than the spectacle needed to fill a large arena. There are no people in the Square apart from the soldiers, there is little sense of a procession in the last act, yet the smugglers lurk threateningly in act three and the quartet remain as observers when Jose returns from prison. The under-current of violence is apt throughout, though not carried through as clearly as it could be. The opening garrotting of Jose, his outburst against Zuniga, the frisking of the factory women all speak of a callousness and tension which inhabits the whole. Into this world Anna Goodhew’s Michaela is the exception which proves the rule. No timid country girl, she has the courage to stand up to the lecherous soldiery and to fight for her love. Her singing, particularly the act three aria, was the highlight of the evening.

Chris Elliott makes a visually attractive Don Jose, and his melt-down is convincing. Unfortunately he was obviously having vocal problems on the night and much of the later acts lacked impact and was unfocused. Mike Barber brought authority to Escamillo and his Toreador’s song was particularly well staged.

The main problem with this production was Carmen herself. Gemma Morsley has no problem with the role vocally. Her singing of the familiar solos was fine and the voice carries with authority. However her character seemed at odds with the world around her. Her sense of humour was apt but there was little sense of sexual danger to her. In fact the scenes between Michaela and Jose had more sexual chemistry than with Carmen. Why is Jose so besotted with her when he can have an easy life with Michaela?

The high walls of the set gave a sense of claustrophobia, often prison-like, which had the benefit of making the small chorus seem crowded and reflected the voices out into the audience. But it was flexible enough to form a convincing night wilderness in act three.

With so many demands on the chorus and smaller parts the choices made by Fraser Grant were always appropriate and helped carry the narrative without ever losing track of the point of focus.

A larger than usual orchestra responded well to Kenneth Roberts musical direction and off-stage forces were impressively well timed.

One small point, which has nothing to do with the quality of the performance. While realising that the first half was long, was there really such a need for the constant movement of members of the audience in and out, causing disruption to all? Most theatres today do not allow re-admission until a suitable break. We seemed to have people going in and out as if they were at home watching the tele.