There are not many names that bring such vivid memories as Carmen. Georges Bizet’s scandalous and groundbreaking opera marked the beginning of a movement in opera that emphasized realism. The music is instantly recognizable, and the story is well-known. The U.S. premiere of Liam Scarlett's Carmen brings movement, gritty realism, and new dimensions to ballet. Choreographer Scarlett infuses the same raw sensuality into Carmen that he so beautifully infused into Frankenstein, also performed by the Joffrey Ballet.
Alberto Velázquez is magnetic with a fire-breathing performance as Don José. He brings the same intensity as he did in Atonement. The chemistry between Velázquez and Jaiani is palpable; they lock eyes and entwine their bodies. It is an erotically charged pairing in the novella by Prosper Mérimée. Don José appears annoyed by Carmen when he has to guard her after a fight in the cigarette factory, but he is also intrigued. This woman is different from his childhood sweetheart, Micaëla (Gayeon Jung). Jaiani gives off heat and leads from the shoulders and hips. Jung's character is choreographed with dainty fluttering en pointe and fluid yet chaste movements. Micaëla has a youthful and fresh-scrubbed look. She is dressed in pastel colors, and portrays all that is good in his life and the possibility of a life together. Carmen wears Don José down, leaning seductively over the desk and swatting his paperwork to the floor like a naughty kitten.
The cigarette factory girls whip the jewel-toned dresses with flair and a teasing possibility of hookups. The women’s dresses and Carmen’s netted shawl are more than props; they are a part of the characters. The subtle touches of Troy Fujimura's projections added to the mystery and erotic themes of the performance. The curtain appears to be a sensual red velvet and then a sheer blue embossed with figures appearing in silhouette. Spirals of smoke slither up the curtain, and the cards that Carmen reads telling of her own demise flip in slow motion. I liked the "Easter egg" of Lotería cards of the Heart and Death being used to tell fortunes.
The toreros whip the two-toned capes in perfect synchronization, and their black shoes and white socks imitate bull hooves in the triumph of Escamillo in the plaza de toros. The juxtaposition of the dead bull impaled with swords is a brilliant moment of foreshadowing. Carmen is but another of Escamillo's conquests. She is trapped in stiff and frigid attire as Señora Escamillo, practically second to the impaled bull. I also liked the señoras in the rafters, dressed in black, wearing mantillas, and adorned with peinita comb ornaments. I saw the women as guardians of Carmen's virtue and fidelity. Jaiani plays the role of a señora with an affected stiffness that is heartbreaking when recalling the passionate Romany cigarette girl.
Scarlett’s Carmen made its debut with the Norwegian National Ballet. The sets and costumes are also courtesy of that dance company. The cigarette factory girls whip the jewel-toned dresses with flair and a teasing possibilty of hookups. The sets have a weathered and damp appearance, complete with smoke pouring from the tobacco factory's chimney. All of my senses were engaged watching this performance. I felt Carmen's terror and longing when she spots Don José's army jacket. She holds the coat briefly and inhales his smell from it.
The final dance between Carmen and Don José is beautifully torturous and heartbreaking. Jaiani is neither fiery nor regal. She personifies regret and surrender while being flung about like a limp doll about to be discarded. Velázquez is a portrait in lust and rage, driven by love as much as anger. He went from proud soldier to vagabond because of Armen. Velázquez is equally devastating in his portrayal of heartbreak and surrender.
The Lyric Opera Orchestra led by Maestro Scott Speck was in their usual top form. Playing live music for dance is as much of a herculean task as dancing to a live orchestra. Every ping of the triangle was in perfect timing. The strings, brass, and timpani were majestic. Bizet's score is so well known that it stirs the imagination in ideal accompaniment to the dance performance. I highly recommend that you purchase tickets and take some friends to see the Joffrey Ballet's production of Carmen. It is a spellbinding 2.5 hours, including intermission, that will take you on a journey to another world where emotions and passion are always close to the surface, waiting to erupt.
Carmen plays through September 28 at the Lyric Opera House, 20 South Wacker Drive. Please visit www.joffrey.org for dates, casting, and a preview of the 2024/25 season. Olé!
For more information on this and other productions, see theatreinchicago.com.
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