Carmen The Musical

The first thing that strikes you is the excitement and the passion that embraces everyone. No, not from the audience, which was small (but enthusiastic) at the preview I attended, but from the company itself. This is the heart of Community theatre – they give their all; not for the money; not for the glory; but for the sheer exhilaration and love of performing.

Carmen is an opera of iconic status. We all know the tragic story of the brief but passionate encounter between Don Jose, a soldier, and Carmen, a girl of loose morals from the local tobacco factory (cigarettes will get you in the end, one way or the other). It ends in murder when Carmen withdraws her affections in favour of Escamillo, the Toreador.

First Kudos to the ensemble, who sang their hearts out with great aplomb. They shone under the skilful musical direction of David Williams AOM (who must surely be one of the greatest assets to any community theatre, anywhere). Of particular note was the children’s ensemble. No fidgeting, no losing concentration, even at a preview. They were totally committed to the story and the stage space, and they performed beautifully. Director Michelle Carrigy made the decision to use the children generously throughout the production, and it has certainly paid off.

And so to the Principals:- Kate Taylor (Carmen) is, by any definition, a star. She has a fine mezzo voice, great vibrato and would give the great Rinat Shaham a run for her money. Add to that her steamy sensuality, lithe dancer’s body, and attractive looks, and you have the total package – what we call a “triple threat”. Josiah Brooks (Don Jose) is a real find. Vocally he has so much to offer, including some lovely top notes to balance his strong lower register. His acting got exponentially better during the course of the evening and he’s a huge asset to the company. Brodie Dorling sang well in the thankless role of Micaela, the jilted girlfriend, and Rebecca Bickerton (Frasquita) and (especially) Helen Lowe (Mercedes) were delightfully coquettish. Steve Howe (Zuniga) was suitably menacing and sleazy when needed and Tristan Vanyai was delightful as Morales. I really liked Michael Winterton’s whimsical Lillas Pastia. He reminded me of the great Richard Briers. Dom Ryan has the right look and presence for Escamillo, but needs to work vocally on developing timbre and vibrato, and some drama classes may help him to relax more on stage.

There’s a great swordfight choreographed by Kate Taylor and her husband, dancer Kirk Millan….and even the programme is of astonishingly high quality.

Warragul is place for many creative retirees, so it’s not surprising that lighting design by Clive Sell ACS (a man renowned in professional film and television circles) was just exquisite and one of the highlights of the show. Likewise Carol Harvey, again with an illustrious list of professional credits, gave us a set that was at once aesthetically pleasing, well built, and totally functional for the cast. Emmalee Meisels’ choreography was simple but showy and effective throughout. With the exception of a few minor wobbles in the string section, the orchestra did David Williams proud and Michelle, as Director, has made sure the entire company of 38 share her very clear vision and put it out there on the stage.

The weaknesses in the production come not from the company. They manage to rise above what is a trite and often soap opera cheesy book and banal lyrics. Some of the dialogue beggars belief, and lyrics often don’t fit music comfortably. David Badger is to blame for these shortcomings…and Bobbie Field for the arrangements turning opera into songs and yet leaving long intros and musical codas (often as much as 16 bars) which are no longer transitions…thus creating stage waits before the next line of dialogue. That aside, WTC can be rightly proud of themselves and if you are anywhere within 50 kms of Warragul, don’t miss the chance to support this great company.

Coral Drouyn

Photographer: Jonathan Tabensky.