Review of Matthew Bourne’s The Car Man by Philip Shell |
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From beginning to end the audience were transfixed as the story line unfolded. This adaptation is set around a garage in the 1950’s. Lez Brotherston’s set and costume designs are of the highest quality, with scene changes being swift and efficiently executed. Chris Davey’s lighting design adds dramatic affect and ambience to the scenes; for example the scene revolving around the heat in the middle of the day, made you feel and experience that oppressive, heavy feeling of a hot, humid day. It is the choreography and the dancers’ attention to detail combined with their energy, gusto, artistry and drama that make the storyline so real. Matthew Bourne commented at the end of the performance that the aim of the production was to create “something that was real, rather than pretending to be real; a story without fantasy.” How right he was. {mosimage}This ballet has everything, pathos, passion, heterosexual and homosexual simulated sex, male nudity, humour (not due to the nudity!) and violence. The fight scenes were violent, physical and gruesome, with “blood” splattering the stage, set and costumes and all choreographed to perfection. Scott Ambler provided a masterful interpretation of the beer guzzling, greasy haired flatulent garage proprietor Dino Alfano. Richard Winsor was the hapless, teased Angelo and one could not but help but feel for his plight. Michela Meazza was the sultry wife of Dino, whose looks were very reminiscent of a young Sophia Loren or Gina Lollobrigida. Alan Vincent was the smarmy, cocky, ironic Luca, whose drifting into the town of Harmony causes anything but harmony amongst its residents. The leads were excellently supported by the entire troupe who provided a chorus of principals. This is a must see show. Any other media representation of this production would do it an injustice; it has to be experienced live. Philip Shell |