Reviews

If you know Brel and this show then go see this. If you’ve never heard of Brel (or this show) then GO! SEE! THIS!

I cannot rave enough about this production. It was like watching a master class, and those of us (me included) who think we can direct, md, sing, act, light, sound, costume, and design sets will doubt our abilities after watching this show.

First some background. Confirming that only good things come from Belgium, Jacques Brel was a Flemish poet and songwriter who rose to prominence in the 50s and 60s.

By transporting this production of Carmen to “somewhere resembling today’s Havanna”, director John Bell and his design team bring the opera into a setting that heightens the heat and spirit of the story, and takes the music of the famous “Habanera” back to its country of origin.

Circus Oz aficionados of all generations were out in force on opening night at Birrarung Marr, so much so that the pre and post-show gatherings resembled a family reunion.

As the show proceeded, we were swung in some kind of moody stupor, slightly unhinged, winging between vignettes of every colour and mood. Spellbinding grace rides a unicycle, undresses while standing on another’s head, and balances innumerable small red balls. Brassy spectacles are in-your-face on all things that bend or swing or stack, and slap-sticky satire brings us back to earth with a chortle.

A 1932 photograph by the Hungarian-French photographer Brassaï  (Gyula Halász)of a bejewelled but scowling elderly woman in the Bar du Tribunal in Paris was the initial inspiration for Chrissie Shaw’s show.  The photographer included the woman, whom he dubbed with cruel irony La Mome Bijou, in his renowned collection Paris du Nuit.  (‘Mome’ can mean ‘kid’ or ‘youngster’ or even ‘chick’.)  The woman apparently showed up at the bar every night, bedecked with all her jewellery.&nbsp