Lez Brotherston’s set design creates a greasy garage diner in a small town called Harmony (oh, the irony) in 1960s mid-America, and clever lighting by Chris Davey contributes to the steamy, sizzling atmosphere. The dancing is earthy, sensual and at times, very explicit. Add in an on-stage murder with plenty of blood and brief nudity, and suffice to say, this is not one for children.
The choreography does lack variety at times – sweaty, heaving bodies in deep demi-plies can only take the narrative so far – but the dancers give it their all, and then some. There are also some welcome witty touches which are a hallmark of all Matthew Bourne’s productions.
At the performance I saw (and there are two alternate casts for the main roles) Will Bozier made a compelling Luca, the stranger who affects everyone’s lives, and Zizi Strallen oozed sexuality as Lana, the femme fatale at the centre of the action. Praise too, must go to Alan Vincent as Lana’s abusive husband; he danced Luca in the original production back in 2000 and still knows how to command the stage.
The Car Man is at the Royal Albert Hall until 19 June.
