“A gripping, steamy spectacle sure to satisfy summertime theatregoers”
Based loosely on Bizet’s Carmen and hailing from Matthew Bourne’s acclaimed company New Adventures, the 2026 revival of The Car Man has big (dancing) shoes to fill, but this erotic-thriller maintains its legendary status for good reason. Love, lust and betrayal ensue as we are thrust into the gritty world of Harmony, USA, where a drifter shakes up the status quo. It should be noted that this piece is double cast, and all performer names mentioned in the following review are from the press night on 23 June.
What immediately stands out watching this show is the attention to visuals. As audience members take their seats, performers saunter about the stage, haze fills the air and sparks fly from a car mechanic’s grinder. It’s clear the performers have taken the time to develop their characters and relationships, even before the show begins, which enriches the world throughout the story. Lez Brotherson’s set and costume design is tangible and cinematically immersive, which combined with Paul Groothius’ sound design – equal parts ambient and punchy – makes the world feel lived in and believable.
Matthew Bourne’s direction and choreography is second to none. The way he forms an ensemble is ridiculously impressive, creating a clear sense of camaraderie on-stage; the performers are undoubtedly having a whale of a time. Movement is oftentimes playful, yet the tone shifts tactfully from laugh-out-loud, to tender, to thrilling. The physicality between Angelo (Leonardo McCorkindale) and Rita (Anna-Maria de Freitas) is particularly evocative, their clashing feelings and tonal shifts playing out beautifully as the show progresses. Bourne’s storytelling expertly incorporates Terry Davies’ innovative orchestration of Shchedrin’s arrangement of Carmen, the music seamlessly blending a range of moods.
The dance and acting abilities of the entire ensemble are consistently incredible, and are an absolute spectacle to witness. There is always something interesting to look at; I’m sure with multiple viewings one could find new mini storylines to follow in the background. This show is a great test of performers’ acting chops as well as their dance skills, and they do a fantastic job of balancing more overt, theatrical movement with subtle yet impactful facial expressions. The stars of this production are without a doubt Will Bozier as Luca and Cordelia Braithwaite as Lana, with truly astronomical stage presence and chemistry. They infuse their characters with sensuality and sex appeal but aren’t afraid of being cheeky. The audience is wrapped around their little fingers watching their every move.
While this revival of The Car Man is undeniably excellent, some elements held it back from my fifth star. After an incredibly strong first act, act two’s opening cabaret sequence felt a little aimless, seemingly serving only to show a character’s guilty drunkenness and provide an (admittedly very cool) transition into the jailhouse setting. From then on, however, the show ups the stakes expertly and is incredibly gripping. My one other critique is that some of the more synchronised dance segments felt a little under-rehearsed due to some dancers being out of sync with each other. I felt the choreography shined more in parts with one or two soloists, or in group pieces with more staggered or varied structure.
I finally want to commend the queer representation The Car Man showcases. Luca as a bisexual character feels natural, and portrayals of casual queerness in ensemble numbers are incredibly charming to spot. Whilst it should not be bold to place a queer character front and centre, this piece remains an important pedestal of queer representation on stage 26 years after its premiere.
Equal parts raunchy, tense and funny, The Car Man is a guaranteed crowdpleaser, with something for everyone to sink their teeth into this summer.
The Car Man runs until 27 June at Lowry, Salford, before continuing a tour. Tickets are available here.