I’d be the first to admit that ballet isn’t my favourite art form, but I am a big fan of Carmen, Bizet’s opera, which in turn was based on Prosper Mérimée’s novella. I’m also a big fan of Cuba, where choreographer Carlos Acosta was born, so I left my prejudices at the door of the Richmond Theatre and settled down to watch his version of the timeless story of love and passion.
There’s no doubt that Acosta Danza presents a visually striking and theatrically bold interpretation of Carmen, framed from the outset by a strong and memorable stage image. A large backdrop featuring a circular screen, edged in red and echoed by a red circular dance floor, immediately establishes a sense of ritual and inevitability. The piece begins unusually with the final tableau, where the Bull/Destiny figure, serving as a Master of Ceremonies, looms over a lifeless Carmen centre stage, surrounded by the cast, reinforcing the production’s fatalistic arc.
The circular screen proves a versatile storytelling device throughout, shifting fluidly between locations and emotional textures: from trees and barrels suggesting a bar, to swirling clouds and even a stained-glass effect. Complementing this, a set of steel frames is used inventively to transform the space, becoming at different moments a prison cell or arena seating, adding both physical and symbolic structure to the narrative.
Adria Diaz delivers an engaging and technically assured Carmen. As the only dancer performing en pointe, she brings a distinctive physical vocabulary to a role that demands both dramatic nuance and stamina. Her performance captures much of Carmen’s complexity, conveying sensuality and defiance.
Acosta’s choreography blends contemporary and classical styles with touches of flamenco influence, creating a dynamic and varied movement language. Several duets stand out, particularly the inventive prison scene in which Carmen uses her ropes to seduce Escamillo. In a clever reversal, the sequence ends with him bound and confined while she escapes – an effective and memorable piece of storytelling told through movement.
Acosta also employs the corps de ballet to mask scene changes by placing action in front of the curtain. While practical, this device occasionally feels somewhat dated and slightly disrupts the production’s otherwise contemporary tone.
The corps de ballet themselves are lively and highly accomplished, with a particularly strong showing in the opening of the second half. The flamenco-inspired bar scene is vibrant and engaging, making imaginative use of tables and chairs as performance platforms. However, the decision for dancers to remove their tops mid-scene feels somewhat confusing in its intention and impact.
At times, the stage appears almost too small to contain the company’s expansive movement style, leading to moments where the choreography feels slightly constrained. Nevertheless, the overall energy and commitment of the ensemble remain impressive.
Now, if all that sounds like I know my ballet, my companion for the evening was my daughter, who’s a trained dancer, and her views were invaluable in writing this review. To sum up, we decided that this Carmen is a visually rich and imaginatively staged production, with a compelling central performance and inventive choreography, but saying all that, I don’t think it changed my mind about ballet – she may have to go on her own next time!
Review by Alan Fitter
Created by Cuban ballet star Carlos Acosta, the classic and well-loved story of Carmen has been injected with his irresistible flair and energy. Acosta’s incredibly versatile company of Cuban dancers return, ready to wow with this powerful and passionate ballet, spiked with a Latin twist. Don José falls deeply in love with Carmen and sacrifices everything to be with her. But when Carmen becomes infatuated with toreador Escamillo she spurns Don José, whose love quickly turns to violent jealousy – all with tragic consequences.
CARLOS ACOSTA’S CARMEN
Richmond Theatre, 8 to 11 April 2026
Tour continues to 9 May 2026
Carlos Acosta’s Carmen
Aylesbury Waterside Theatre
Wed 15 Apr – Sat 18 Apr 2026
Opera House Manchester
Wed 22 Apr – Sat 25 Apr 2026
Theatre Royal Brighton
Wed 29 Apr – Sat 2 May 2026
New Victoria Theatre, Woking
Wed 6 May – Sat 9 May 2026
