CARMEN

The Australian Ballet 
Canberra Theatre
Reviewed by Samara Purnell

The Australian Ballet made a rare appearance in Canberra, to present Johan Inger’s version of Carmen. Artistic director of the Australian Ballet, David Hallberg, introduced

Jill Ogai and Callum Linnane.
Image from official program

the evening and performance.  

As the familiar strains of Georges Bizet’s Carmen Suite began, played brightly by the Canberra Symphony Orchestra, the anticipation about this overtly sexual and dark take on cigarrera Carmen - her lovers, simps, cohorts, friends and its denouement, was palpable.

Inger’s choreography is full of flexed feet and dance leading with the elbows and hips, as well as graphic sexual poses and references. It is deliberate, considered, blatant and beguiling. 

The set was modern, minimal and maneuverable. A series of rectangular panels went from prison cell doors that clink and clank, perhaps also symbolic of an imprisoned life as a factory worker, to mirrors, to doors and boxes in alleyways, allowing glimpses of what goes on inside. It was deceptively simple and effective. 

The men preen, the girls flirt and the clearly segregated male and female ensembles circle each other like peacocks. Carmen amuses herself as she flits between two lovers, then three, using seduction and sexual prowess to escape imprisonment. 

The confident police captain Zuniga (Brett Chynoweth) commanding in his role, appears to take Carmen’s affairs in his masculine stride, but when she seduces Don Jose, their downfall begins. 

Jill Ogai and Brett Chynoweth. Photo Kate Longley

Jill Ogai dances Carmen with strength and conviction. And a control that almost defies the blase personality and intense yet carefree way she goes about things. She looks like a Spanish firecracker with her black hair and strong body. 

Hallberg has been presenting a body of work for the Company over the past couple of years that has a sole male dancer as the lead and predominantly features the male dancers. This has given audiences the opportunity to really get to know this impressive ensemble of men and in particular to enjoy danseur étoile Callum Linnane, who has recently portrayed Oscar Wilde and Vaslav Nijinsky. These were all-encompassing, stunning performances with poignant and beautiful solos and pas de deux, and have become Linnane’s one wood, and it’s a very impressive wood, but going into Carmen, the anticipation of seeing Linnane as Don Jose perform in a different type of role danced with a female partner was an enticing prospect.  

But that was not really to be. Dressed in pin-striped pants and a white shirt, he rapidly becomes disheveled and desparate in his pursuit of Carmen, as the interpretation of Don Jose in this production delved into the conflict of valour versus shame, jealousy and passion, control and anger, submission versus aggression, desire versus protocol. 

So, another tortured role for Linnane, as Don Jose grapples with the humiliation of being debadged and the teasing from Carmen and by other men, his sexual interludes with her and his jealous obsession. He brings stamina, nuance and emotion to this Don Jose and portrays mental and physical exhaustion with a sensual intensity.  

Jake Mangakahia. Photo Daniel Boud

Jake Mangakahia’s Torero pranced and posed like a horse on a carousel, a music box parody in a sparkling jacket and moustache, as fans and lovers whirl around him. He reveled in the role. The dances with the ensemble were especially striking.  

A young boy (played by Lilla Harvey) had opened the show - an odd inclusion in the narrative and to have the role played by a female dancer, even more so. In a dream sequence he becomes Don Jose’s child, as the story unfolds he becomes wary, angry,
mimicking the downfall of Don Jose. On face value he is a mirror, a reflection of Don Jose’s conscience, or a child losing his innocence by what is witnessed. Another interpretation is that it’s a representation of the generational and gendered violence and learned behaviour of males. 

An article by Heather Bloom, content editor of The Australian Ballet, very much focuses on gender roles and violence in Inger’s Carmen, suggesting that Carmen is inconsequential in the narrative, as viewed by the boy and that Don Jose is a victim - of the patriarchy and the expectation from and reward by society of male aggression and domination. He may be conflicted, but Carmen ends up dead either way. It’s food for thought, but not what would immediately be front of mind watching the ballet with no back-story.

Act two takes a dark turn, literally, into a city that gives Gotham City vibes, where the “dogs” - masked dancers in black suits and masks, sweep the murdered away and appear as a threatening and sinister presence. The interactions with the young boy change, as he is changed. Bizet’s score gives way to music by Mark Alvarez, with electric guitars. Don Jose becomes like a junkie, a dog scouring the street and hunting down Carmen. 

Their sexually charged pas de deux pulses with lust, turmoil and danger, Carmen takes the lead in some of the Paso Doble-esque dances, leaving Don Jose spent. He becomes more aggressive with her as he is consumed by her. 

Jill Ogai and Callum Linnane
Image from instagram

This Carmen was fiery in all senses. It was at the end that the emotional engagement really hit. When Carmen is killed by Don Jose and stripped of her iconic red dress - red that symbolizes danger, passion, love, rage and blood, she’s seen as what she is….first and foremost, Carmen is just a girl. One who messed with men. She played with fire and got burned. 

Callum Linnane. Photo Kate Longley 

As the bells chime and Carmen fades away, this stunning performance, danced with the energy, characterisation and intensity demanded by it, will remain with viewers. 

There was much animated discussion post-show on Inger’s take on the classic opera. It was certainly an exciting evening and a memorable way to celebrate the Canberra Theatre’s 60th birthday, with the Australian Ballet Company accompanied by Canberra Symphony Orchestra, and its performance of Carmen.