Carmen - New Victoria Theatre

More than 20 years into his career, and 2 years after succeeding Alan Ayckbourn as Artistic Director at the Stephen Joseph Theatre, there are certain things we have come to expect from a new Chris Monks production. These include performance in the round, irreverent updates to librettos, imaginative re-settings, and a versatile cast capable of taking on multiple roles, singing and playing instruments. His name is a big draw at the New Vic Theatre in Staffordshire, where plays such as The Mikado, Sweeney Todd and Don Giovanni have enjoyed great success.

His production of Carmen has a shorter than normal run, but has been playing to big houses at the Vic. This is not opera in a traditional, grand sense; dialogue is still sung, but the music is largely provided by keyboard rather than orchestra, lending the overture a slightly Clockwork Orange feel. Members of the cast assist with instrumentation. Meanwhile, the action is transposed to a modern shopping centre, with Carmen becoming a shop girl, and her lover, Johnny G, a security guard with a dark past. The bold seducing Matador becomes Tony Amor, a Sicilian football star, with a Berbatov haircut and a coke problem.

There is a large cast for a Vic production, although most actors take more than one role, and their performances are full of energy. Unusually for a Chris Monks production though, the level of vocal ability is variable, possibly a reflection of his preference for actors who can sing, rather than singers who act. In the round, some words will inevitably be lost, but a couple of performers stood out in terms of clarity and range. The main characters are excellent – Amor oozes louche charisma and arrogance, while Carmen has a perfect The Only Way is Essex swagger. Unfortunately, Johnny G comes across as something of a wet blanket, and his murderous rage is unbelievable. He is also a character in search of an accent, struggling between Welsh, Scouse and Geordie.

Carmen is definitely a bold production. The Vic can seem a little sedate and traditional at times, and the average age on the night I attended must have been comfortably over 50. However, the exuberance of the production carries the audience through an expletive-laden libretto and urban setting, the jokes are well received, and the applause at the curtain is enthusiastic.

Chris Monks has been producing excellent operettas in the North of England for decades now, and is just starting to receive the recognition he deserves. Carmen isn’t his finest hour, but is still worth a watch, and you can rely on him for an enjoyable night out, with a couple of surprises along the way.