‘captivating, carnal, and carefree with an intimacy in both its staging and performance’
Director and Producer Ellen Kent’s Carmen is captivating, carnal, and carefree with an intimacy in both its staging and performance, benefitting strongly from the close camaraderie of the company that is clearly evident on stage.
Set in early 19th Century Seville, Carmen tells the story of the downfall of Don José (Hovhannes Andreasyan) a naïve corporal who falls head over heels in love with Carmen (Mariia Davydova), a seductive, free-spirited gypsy girl. The infatuated Don José abandons his childhood sweetheart, Micaela (Viktoria Melnyk), and neglects his military duties much to the annoyance of his senior officer Zuniga (Hovhannes Nersesyan), only to lose the fickle Carmen to the glamorous toreador Escamillio (Iurie Gisca).
For logistical reasons, an older set was deployed by stage director Victor Donos, but it worked on so many levels as it delightfully reflected each scene to create a more intimate experience. The clever use of colour through costume and Valeriu Cucasarschi’s lighting design caught the changing moods and combining perfectly with the Orchestra of the Opera International, Kyiv, conducted by Vasyl Vasylenko who drew out both the lively playfulness and darker intensity musically to match the unfolding drama as it hurried towards its inevitable conclusion.
Sung in its original French, with English surtitles provided by Mariia Maliuta, the unfolding action on stage was easy to follow with some fine support from Stagecoach Theatre Arts Liverpool. Whilst the focus is naturally on the principals, the supporting cast were excellent, with Anastasiia Blokha and Liuciia Dun’s entertaining performances as Carmen’s friends Frasquita and Mercedes matched delightfully in turn by Vitalii Cebotari and Ruslan Pacatovici’s cheeky portrayal of the smugglers Dancairo and Remendado, with the musical numbers including Davydova particularly memorable.
I enjoyed Nersesyan’s clever balancing of officiousness and bumbling drunk in his portrayal of Zuniga and I have to make special mention for the female chorus, led by Kateryna Kondratenko-Savienkova, whose lively and excellently choreographed routines were well sung and full of energy, with their many moments of comic humour providing the necessary response and release to the ever-building tension.
Melnyk was naturally earnest as the girl next door with her strong vocal adding texture to her impassioned pleas that can only fall upon deaf ears.
Gisca’s presence stood out again through his statuesque command of both stage and song with some added swagger combining wonderfully with his powerful vocal for good measure.
Andreasyan’s spirited performance captured the naivety and innocence of Don Jose’s persona perfectly as he is drawn into Carmen’s cleverly crafted web, and which made his strong finale even more impactful as the hunter becomes the hunted in a bullfight to the bitter end.
Davydova was feisty and frenzied as the femme fatale who beguiles all with her mesmerising seguidilla, making dreams a reality until her dangerous siren destroys any lingering hope. Her movement, acting, and command of the stage combined with an impressive vocal made for an enjoyable watch.
Carmen is one of three productions touring throughout the UK with further details available at www.ellenkent.com.
Review Date: 17th February 2026
Star Rating: FOUR