By BRUCE DENNILL
Joburg Ballet: Carmen / Choreographer: Veronica Paeper / Mandela, Joburg Theatre, Braamfontein, Johannesburg
Carmen is a story – told in opera since 1875 and as a ballet since 1949 – about passion, ego, romance and compounded bad decisions, with Georges Bizet’s score one of the richest and most striking in the modern canon. Matching the intensity of the music is a worthy challenge for any performer and credit must go to the dancers of Joburg Ballet for their efforts here, at a time when the company is again going through some administrative unrest behind the scenes. [Note: This is not a platform or context for investigative journalism, but it’s unfortunate and ironic that the aforementioned ego and compounded bad decisions are trials in fiction and in reality, with the artists sadly bearing the brunt of goings-on beyond their control in the latter scenario.]
Tall, lean sets leave plenty of room for the action and sultriness levels are set high from the off as soldiers and cigarette factory girls mingle, strut and pair off as the Madame of the Factory (Sue Kirkland) does her best to marshall her errant charges. Carmen (Ryoko Yagyu) is the last to arrive and the last to comply, lingering as she does to catch the attention of Don José (Ivan Domiciano), who is sitting to one side cleaning his rifle for most of the opening sequence.
Knowing the eponymous character’s dramatic reputation, it interesting to contrast Yagyu’s petite frame with the impact Carmen needs to make. The principal dancer soon shows that she’s up to the task – particularly in a realistically violent fight scene with a factory colleague (Darragh Hourrides).
With the female dancers here mostly playing factory workers (rather than nobility or etiquette-bound townspeople as in so many major ballets), it makes sense that they look less formal, with long hair cascading past their shoulders or proudly buoyant in Afros. Collectively, this adds a notably different dynamic to proceedings, with tresses whipping around as ballerinas pirouette or leap or launch into lifts.
Carmen, never a shrinking violet, is the object of affection for more than just the indecisive Don José. His superior officer, Captain Zuniga (Mario Gaglione), also makes the moves on her, with both of them eclipsed – in terms of confidence and flair – by bullfighter Escamillo (Revil Yon), who effortlessly steals the scene every time he appears on stage in his gold-piped outfit. The character’s arrival at the Tavern of Lilas Pastia in Act Two, and his choreography to the unmistakeable strains of The Toreador Song, is arguably the highlight of the entire production, and Yon’s talent and natural suavity mean he shines in the role.
Speaking of shining, another non-character aspect of the piece that makes itself unexpectedly evident is the number of knives on display – Seville in the 19th Century must have been a pretty edgy place. Their presence, and the characters’ desire to use them with furious intent (carving a crucifix in a friend, anyone?) make for varied choreographic opportunities not usually available in a classical ballet.
As tavern owner Lilas Pastia, long-time Joburg Ballet character actor Albertus Dreyer makes a welcome return to the company, entertaining with both his flamenco footwork and his no-nonsense publican’s attitude to customers trying their luck in his venue.
Act Three and Four use the Mandela Theatre’s giant, complex stage well, with the former, taking place in a mountain cave, layering the set far back into the darkness and the arches in the bullring at the end offering spectacular framing for silhouetted dancers on a hidden riser.
The recording of the score is good, but Bizet’s glorious passages may hit even harder with the benefit of a design that offers more viscerally felt surround sound.
Joburg Ballet and its long-term supporters (Friends of the Ballet, patrons and fans) have weathered organisational storms before. This production confirms both the talent and resilience of the dancers and the teachers and other staff committed to the cause.