⭐️⭐️⭐️⭐️ Raw, Dark and Passionate
The Car Man is a dark, gripping piece of ballet.
Created and choreographed by Matthew Bourne, an award-winning British choreographer, the production reimagines Georges Bizet’s 1875 opera Carmen as a gritty 1950s American film noir. Gone are the streets of Seville and the cigarette factory. Instead, we now find ourselves in Harmony, a dusty Midwestern town centred around a local garage and diner.
When the handsome, enigmatic Luca (Will Bozier) arrives looking for work at Dino’s garage, he sets in motion a dangerous web of desire, jealousy and betrayal. Indulging in an affair with Dino’s wife, Lana (Ashley Shaw), Luca develops a growing connection with Angelo (Leonardo McCorkindale) and before we know it, we head towards a devastating spiral of obsession, murder and… revenge.
The music draws on Bizet’s Carmen, reworked by Rodion Shchedrin and extended with additional music by Terry Davies. With its roots in the film noir classic The Postman Always Rings Twice, the story feels more like a dark thriller than a traditional ballet, brought to life through the dancers’ movements rather than dialogue.
The atmosphere is thick with tension. The garage and diner create a convincing backdrop, bringing the small-town setting to life and providing an everyday setting for the increasingly dangerous events that unfold.
The choreography is unmistakably Matthew Bourne: physical, powerful and full of attitude. The dancing can be playful one moment and uncomfortable to watch the next, as the relationships between the characters begin to unravel. The performers tell so much of the story through their movements and expressions alone, making it easy to follow the drama even without dialogue – although I must add, we do actually hear a tiny bit of speech in this production.
The chemistry between the performers is particularly striking. Attraction, jealousy and rivalry are communicated through intense physical exchanges, while the production’s open exploration of sexuality gives the relationships an added complexity. The result feels raw and uncomfortable at times, but that is precisely what makes it so compelling.
There are lighter moments, too, as the dancers capture the rhythms of everyday life in a close-knit community. These offer brief relief before the darker side of the story takes over.
The music works brilliantly with the action on stage, while the lighting, costumes and set help bring the 1950s American setting to life. At times, it feels less like watching a ballet and more like being drawn into a dark crime film, with the tension building as the story unfolds.
The Car Man is not a gentle, romantic night at the ballet. Its themes of lust, power, sexuality and violence make it an unapologetically adult production (it comes with a content advisory and a recommendation of being 15+ to watch the production), but there is much to admire in its bold storytelling and extraordinary performances.
Matthew Bourne has taken a familiar story and transformed it into something fresh, provocative and visually striking. A gripping production that proves dance can be every bit as compelling as film or theatre.
You can watch this fantastic ballet at Birmingham Hippodrome until Saturday 17 October 2026.
Book your tickets here: https://www.birminghamhippodrome.com/calendar/matthew-bournes-the-car-man/
Disclaimer: This review is written after attending the press night performance of the show.