WORDS: MAUD SAMPSON
With its roots in the 1875 opera of the same name, Ballet Ireland’s production tells the story of a young soldier José who becomes infatuated with the free-spirited gypsy Carmen. As José falls deeper in love with her, he fails to realise that he cannot tame or possess her, and ends up destroying both their worlds whilst trying to do so. The Civic Theatre in Tallaght is an intimate venue opened in 1999 as part of the South Dublin City Council’s drive to inject artistic creation into the area, and the auditorium was almost full for Ballet Ireland’s performance of Carmen.
Choreographer Morgann Runacre-Temple has produced a technically innovative production juxtapositioning classical ballet moves with jarring and often angular motions to communicate the aggression of the military and gypsy world of Carmen. The result is refreshing and powerful, as the ballet explores an atypical world to the classical form, with a chain-smoking, promiscuous temptress as the female protagonist.
The simplistic style of the show complimented the production. The use of plain white lighting and a minimal stage aided scene changes that appeared part of the performance to ensure the fluidity of the production was constantly maintained.
The music contributed hugely to the exciting atmosphere of the production. There is an alternation between a live set by Dublin flamenco guitarist John Walsh and emotive classical scores by Bizet and Shchedrin. Walsh’s live arrangement complimented Bizet’s “Spanish-esque” themes during group scenes showing the flamboyant gypsy art of courting; successfully highlighting the Romany element of the production. Unfortunately it was also in these group sequences that the dancing was at times slightly out of sync. The sexual chemistry was strongest during Walsh’s sets, distracting just enough from the questionable timing in parts.
The performance was carried by the superb lead female Kesi Olley-Dorey (Carmen). Olley-Dorey communicated the sensuality of her character perfectly, effortlessly gliding through her sequences whilst retaining Carmen’s teasing sassiness (communicated not just through her body but also through her facial expressions). Just as on stage those around Carmen are drawn towards her, Olley-Dorey maintains the gaze of the audience throughout the production. Despite technically sound performances, Carmen’s two love rivals, José (James Löffler) and Toreador (Yonas Meshima), by comparison seemed to lack her passion and appeared more rigid. However this only added to Carmen’s stage presence, ensuring the audience empathised with José’s unrequited love for her that leads them both to their downfall.
A brave production by Ballet Ireland under the leadership of director Anne Maher, but a successful one, ensuring there is more to do in Tallaght than visit The Square. The future of Irish ballet looks promising.
