We round up the reviews for Matthew Bourne’s ballet, playing at Sadler’s Wells until the 29th August.
Broadway World: “Unlike most of Bourne’s repertoire, nothing here is subtle. And, importantly, nor does it pretend to be. This remains after all this time a genuine thriller albeit one built on bodies rather than plot twists, and one that leaves Harmony’s sign a little smaller on population by the time the lights come up.”
WhatsOnStage: “One of the production’s greatest achievements is its storytelling. Despite having little to no dialogue, every character’s emotions, their relationships, and conflicts are communicated with clarity. Bourne’s choreography masterfully blends contemporary dance with classical ballet, while subtle flamenco-inspired movements acknowledge the production’s influences from Carmen. The result feels both elegant and fiery.”
West End Best Friend: “The Car Man is the sort of dance production that ought to open up the genre to new audiences. Bourne’s choreography is sublime and alongside the intricacy of Terry Davies’ orchestra, it is a clinic in finding the perfect timing.”
London Theatre.co.uk: “Lez Brotherston’s multitiered set design is claustrophobic and authentically greasy, and the costumes are both colourful and feel well-worn, complemented by Chris Davey’s woozy lighting. Making a feature of sweat and heavy breathing, it’s well-oiled pulp fiction in dance form and damn gripping stuff.”
The Reviews Hub: “You don’t have to be a Carmen or ballet fan to enjoy this wonderful production. Just as with the marvellous World War II Cinderella, the exquisite Edward Scissorhands and elegant Red Shoes, Bourne demonstrates his mastery of the art. We have no doubt that they will be reviving this production for many years to come.”
The Arts Desk: “At every turn in Matthew Bourne’s The Car Man, references to other stories pop up. There are the murderous sexual shenanigans of The Postman Always Rings Twice, a squad of Italian-American punks who could hold their own on the mean streets of West Side Story, a duelling cars scene from Rebel Without a Cause, even hints of Puccini’s Il tabarro. What it definitely isn’t, and deliberately so, is a representation of Bizet’s Carmen, while grounded in its superb music.”
Bachtrack.com: “Bourne continues to thrill. There isn’t a dull moment. The musicality, the choreography, the blatant sexiness of the stories they tell, are untouchable.”
The Stage: “Matthew Bourne’s steamy dance noir is the choreographer on top form – and the cast do full justice to its rigorous demands.”
British Theatre Guide: “I didn’t expect to be as moved and excited as I am, thinking I know The Car Man well, but, as I’ve said, Bourne’s tweaks are worth checking out. There are some inevitable clichés—not sure about the boy car racers and their blinding headlights—but who cares. Just go with the flow, and flow it does, not outstaying its welcome—just two hours in all.”
The Telegraph: “Blending Carmen’s dramatic score with pulp noir, The Car Man is a sultry thriller packed with violence and dazzling choreography.”
London Theatre Reviews.co.uk: “The Car Man is a slick, stylish and thoroughly entertaining piece of dance theatre. It is a bold, beautifully performed production that shows why Bourne is one of Britain’s most inventive choreographers.”
To book tickets click here.