‘teases and tantalises at every turn in this intimate production’
Director and Producer Ellen Kent’s Carmen teases and tantalises at every turn in this intimate production which thrives from the close camaraderie of the company who captivate with their performance.
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 Escamillo (Iurie Gisca).
For logistical reasons, stage director Viktor Donas has utilised an older set which with its hints of Goya and Picasso works on so many levels as it delightfully reflects each scene to create a more intimate experience for the smaller stage at Manchester Opera House. 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 the contrasting lively playfulness and darker intensity that resonates throughout musically to match the unfolding drama as it hurtles 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 Salford. 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 combining delightfully with Vitalii Cebotari and Ruslan Pacatovici’s cheeky portrayal of the smugglers Dancairo and Remendado in Act II, with their ensemble pieces, including those with Davydova, especially entertaining.
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 full of joie de vivre and sung well, with their many moments of comic humour providing the necessary response and release to the ever-building tension surrounding them.
Melnyk was naturally earnest as the girl next door with her impressive vocal greatly appreciated as it added textured layers to her impassioned pleas that will sadly only fall upon deaf ears.
Gisca rightfully stood out with his statuesque command of both stage and song, adding some swagger to an accomplished acting performance which combined wonderfully with his powerful vocal for good measure.
Andreasyan’s occasional vocal wavers were off-set by a spirited performance which embraced the naivety and innocence of Don Jose’s persona perfectly as he is drawn into Carmen’s cleverly crafted web, with everything coming together in unison to ensure an impactful finale 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 superb command of the stage are captivating to watch whilst her impressive vocal was equally intoxicating and alluring: music to my ears.
Carmen is one of three productions touring throughout the UK with further details available at www.ellenkent.com.
Review Date: 25th March 2026
Star Rating: FOUR
Footnote:
Whilst not directly related to the company’s performance, there were some issues arising tonight which I would like to note in turn.
There is a scene change between Acts I and II and the lights remain down to reflect this. Sadly, many of the audience unfamiliar with performance etiquette assumed it was an interval and left, resulting in significant disruption when Act II commenced and they hurriedly piled back in. The venue needs to manage this better and position staff on the doors or make an announcement.
Secondly the behaviour of some audience members during the performance was more akin to that of monkeys at a zoo: eating noisily, slurping drinks, and chattering away. Again, the venue need to manage this better. A start may be to exclude those sat in stall seats M19-22 inclusive from future productions as they were particularly disruptive.