Matthew Bourne’s The Car Man at Sadler’s Wells and on tour – review

Matthew Bourne’s seductive dance thriller returns… and it’s as captivating as ever!

The Car Man remains one of Bourne’s boldest and most provocative dance productions. Taking inspiration from Bizet’s opera Carmen, and infusing elements of classic film noir, this gripping thriller transports us to a small American town in the 1950s, where lust, jealousy and revenge simmer beneath the surface.

First premiering in 2000, this New Adventures production is back on stage and still seems fresh. Set in the town of Harmony, the story begins with the arrival of mysterious drifter Luca (Harrison Dowzell, on press night), who accepts a job at the local garage. His presence immediately draws in the community, attracting the attention of both his boss’s wife, Lana (Cordelia Braithwaite), and fellow mechanic Angelo (Leonardo McCorkindale). What follows is a story of lust, betrayal, and revenge, resulting in devastating consequences.

The themes are woven in so seamlessly that it feels as much like a Hollywood drama as it does a dance piece. Bourne is known for reimagining traditional stories, from Swan Lake and Romeo and Juliet to Edward Scissorhands. With The Car Man, he delivers a darker, sexier and distinctly cinematic experience.

Lez Brotherston’s dynamic two-level set transforms between the garage, diner, dimly lit cabaret bar and prison, making full use of the Sadler’s Wells stage. Combined with the period costumes, from flared dresses to mechanic overalls, and even Western attire, the production fully immerses audiences in its 1950s setting.

The recognisable score, arranged by Terry Davies from Rodion Shchedrin’s “Carmen Suite” (after Bizet’s Carmen), provides a dramatic soundtrack to all the action. The rich orchestral arrangements heighten the intensity, while Chris Davey’s atmospheric lighting wonderfully complements the story’s noir-inspired aesthetic.

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.

Dowzell is magnetic as Luca. He commands attention with effortless charisma, gliding across the stage with confidence that makes it impossible to look away. Although his character is a catalyst for the drama that ensues, his performance alongside Braithwaite and McCorkindale (on press night) is charged with passion and tension – the chemistry is undeniable.

The ensemble is equally impressive. The opening sequence, featuring a cheeky performance from the garage mechanics, immediately establishes the piece’s playful energy and style. Throughout the show, the group dances are executed with extraordinary precision, leaving us absolutely engrossed. The choreography certainly demands a high level of athleticism, but I also commend the emotional storytelling delivered by the entire cast.

The more intimate dance sequences are dramatic and passionate, as they capture the characters’ desires for one another. The expertly executed fight scenes blend movement and dance, creating moments that feel both realistic and thrilling. Bourne’s direction keeps the audience engaged from beginning to end.

Bold, sexy, theatrical and thoroughly entertaining, The Car Man proves to remain a standout in the New Adventures repertoire. The production continues to captivate and is a powerful example of Bourne’s distinctive creative vision.