Last Updated on August 19, 2026
Bizet’s Carmen Inspires Bourne’s Raunchiest Work
3.5 out of 5.0 stars
I’ll be honest. The first time I saw Matthew Bourne’s The Car Man at its London premiere at the Old Vic in 2000, I disliked it intensely. Since then, Matthew Bourne’s tale of sex, sleaze, jealousy and murder among car mechanics in 1950s small-town America, very loosely inspired by Bizet’s opera Carmen, has split critical opinion, garnered awards, toured nationally and internationally and was last seen in London in 2022 at the Royal Albert Hall, its larger-than-life exuberance proving a perfect match for that vast venue. Now The Car Man is back for a summer residency at Sadler’s Wells.
Each outing offered an opportunity for reassessment, because Matthew Bourne is well known for changing and refining works every time they’re brought back, so that, in his own words, no production by his New Adventures company is simply “revived”- rather, it’s newly questioned with each cast.
And so, although I still don’t rate The Car Man as among Bourne’s best productions, say Swan Lake, Cinderella or, my very favourite The Midnight Bell, it has grown on me somewhat. Its unflagging energy is quite irresistible, even if its profuse scenes of simulated copulation hover uncomfortably between raunchy and simply silly, and at two hours, including one interval, it tells its story with pace and efficiency. More importantly, the cast clearly relish it and to the last person give vibrant, impassioned, deeply theatrical performances.
It’s not – stress not – the story of Bizet’s Carmen we know and love, though it’s danced to Rodion Shchedrin Carmen Suite (after Bizet), orchestrated and augmented by Terry Davies. It’s played live with brio by the New Adventures Orchestra, conducted by Benjamin Pope. The titular Car Man is Luca, a stranger who arrives at the Italian-American town of Harmony (pop 375) and takes up a job in a garage owned by the brutish Dino.
Luca’s arrival disrupts the precarious harmony of the small town. With Bourne acknowledging his passion for, and debt to, cinema, think Terence Stamp as The Stranger in Pasolini’s Theorem, or even more to the point, the 1940s noir The Postman Always Rings Twice. Luca catches the eye of Lana, Dino’s oversexed, frustrated, abused wife, and before long the two are having steamy sex all over the shop.
He also catches the eye of Angelo, the odd jobs man, a gentle, gay youth, who’s the butt of everybody’s mockery and bullying in scenes so cruel they are hard to watch. Luca has sex with Angelo, too – Bourne is proud of the fact that back in 2000 this was possibly the first bisexual character in any mainstream show. From then on the tragedy unfolds with the impetus of a steam-roller pitching downhill out of control – but you’ll find no spoilers here. Well, maybe just a teaser or two…
Part of The Car Man’s appeal lies with Lez Brotherston’s superlative sets and costumes, complemented by Chris Davey’s excellent lighting design. The front halves of two period cars dominate the stage, with Dino’s office sandwiched between them and the frontage of Dino’s diner. At the back, a multipurpose two-storey structure serves variously as the flat above the shop, a forbidding prison, and the shower room where the mechanics clean up after work. Yes, starkers.
Bourne’s choreographic language is a vigorous blend of musical theatre – think Jets and Sharks for some of the ensemble numbers – with quotes from classical and contemporary dance. It’s often sexy and quite graphic, but it’s also capable of tremendous tenderness in the sequences for Angelo and Rita, the girl who loves him no matter what. For the story to carry, it requires dance actors of the highest calibre and in the press performance I attended, Bourne veteran Ashley Shaw was totally convincing as Lana – I particularly admired the way in which she used her eyes as instruments of seduction.
As Luca, Will Bozier conveyed the character’s transition from mysterious outsider, seemingly in charge, to guilt-ridden drunk, whose life has spiralled out of control. Harry Ondrak-Wright skilfully managed Angelo’s transition from wronged youth to half-crazed man hellbent on revenge; and Anna-Maria de Freitas portrayed Rita’s innocent, faithful love with endearing realism. Throughout The Car Man‘s run, different casts will be given the chance to embody these much-coveted roles.
The Car Man is at Sadler’s Wells Angel 28 July to 29 August. Evenings at 7.30 pm. Thurs & Sat mats at 2.30 pm. Sun at 2 pm. No performance on Mondays
Dur.: 2 hours inc one interval Tickets: £15 to £125
Sadler’s Wells Angel
Rosebery Avenue
London EC1R 4TN
Check out our London Dance Previews – July to December 2026
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What makes The Car Man so fascinating is how it seems to demand a second look. A production that can initially feel excessive or provocative can reveal different layers with time, especially when Matthew Bourne continually reworks it with new casts and perspectives.
Matthew Bourne’s The Car Man sounds like a fascinating and provocative reinterpretation of Bizet’s Carmen. Its combination of passion, jealousy, crime, and 1950s Americana gives the story a bold contemporary edge, while Bourne’s distinctive choreography brings plenty of energy and theatrical flair. It’s interesting how a production that initially divided critics has continued to attract audiences and remain relevant more than two decades after its premiere. A compelling choice for anyone who enjoys daring adaptations of classic works.
The Car Man sounds like one of those productions that becomes more interesting with time, especially when each revival is treated as an opportunity to rethink rather than simply recreate it. The combination of Bizet-inspired drama, 1950s Americana, raw sexuality and relentless physical energy certainly makes for a provocative theatrical experience.
An intriguing review of a production that clearly continues to evolve with every revival. I especially enjoyed the observation that The Car Man is not simply “revived,” but repeatedly questioned and reshaped by Matthew Bourne and his company. That makes each new performance worth revisiting, even for those who were initially unconvinced.