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14 July 2026
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5*****
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So, after 8 years of regular reviewing at the Theatre Royal Plymouth, I am taking a step back (for now) to concentrate on other theatrical projects. So, for my final visit I decided The Car Man was the ideal choice. Having had the honour of seeing a number of productions by Matthew Bourne during my time at TRP and not having seen this before, I hoped it would be as utterly wonderful as his other works. Reader, it is OUTSTANDING!
Bourne always pulls his inspiration from various sources and adds his own inimitable style and touches; here there is more than just the music from Bizet’s Carmen, but also the noir thriller The Postman Only Rings Twice by James M Cain. The result is a sultry, steamy, erotic, violent, mesmerising entertainment played to the hilt by remarkable performers.
When drifter, Luca, arrives at the run down settlement of Harmony and the sleazy Dino’s garage and diner, looking for a job, his recruitment sets off a chain of events which changes everyone’s lives. Atmosphere is key in this production and it is achieved through the music and through the peerless production team. Lez Brotherston’s designs are fascinating and detailed – the pre-curtain action allows the audience to have a good look at what has been created – as the story continues, the slick nightclub and the stark prison also display the talents of this most talented of theatre craftsmen. His costume design’s also do everything which one might wish for. Chris Davey’s lighting creates an oppressive heat reflecting the recent weather – thankfully TRP has an air conditioning system that is actually working.
I first saw Will Bozier as The Swan in Bourne’s Swan Lake; an immensely talented performer who moves with such fluidity whilst almost defying gravity – cartwheeling over a table he lands like a cat. He is broody, sexy and impossible to look away from – as Luca he has edge and charisma and gives an astonishing performance. Ashley Shaw is never less than extraordinary and here, as Lana the abused wife of Dino, she moves like a dream with an effortless grace. The bullied, susceptible Angelo, is given a performance of the highest level by Harry Ondrak-Wright – vulnerable and innocent, the arc of his story is the most dramatic – his solo dance in the prison is one of the major highlights. When Angelo duets with Rita it is a thing of great beauty – their pas de deux in Act One is so full of sensitivity and deep feeling – Anna-Maria de Freitas is simply wonderful and heartbreaking. Alan Vincent played Luca in the original production of the show in 2000 and it is a mark of Bourne’s loyalty to those in his team, that he returns to play Dino – though a largely non-dancing role, when Luca has the nightmarish duet with him, it is strangely moving.
Bourne’s choreography is, as ever, a fusion of styles and genres which fit the music – much of which is so familiar – perfectly; classical ballet, contemporary, line-dancing and ballroom all sit alongside each other with ease and nothing jars. Genius. Terry Davies, once again, adapts and composes the music which takes Rodion Shchedrin’s Carmen Suite as the core work – it is stunning.
The storyline is a tough one, with the action covering homophobia, marital abuse, male rape, murder and bullying but, my goodness, it is involving. The pace never lets up and the tension is palpable throughout – as ever, the achievement of storytelling so vividly without the use of words is, quite simply, beyond belief. There are so many highlights and set pieces – the cheeky shower scene, which is so funny – the startlingly violent sex between Luca and Lana – the amazing drag-racing scene – the nail-biting finale…….. I could go on.
As ever, everyone is at the top of the game. I have often said in my reviews that I dislike lazy theatre – it is not a criticism that could ever be made at New Adventures.
In a few months Matthew Bourne will bring his production of Cinderella to Theatre Royal Plymouth – that will be three of his shows this year. The local people are well blessed.
Amidst the many shows I have reviewed at TRP, there have been many brilliant ones and a few duds – but only a few. I thank all those who have allowed me to see all of them over the years. It has been a home from home. However, I can’t think of many theatre practitioners I have seen at TRP – or indeed, anywhere – whom I admire more than Sir Matthew and in The Car Man you have a piece of brilliance which few others could match.
Cast
Lana – Ashley Shaw
Luca – Will Bozier
Rita – Anna-Maria de Freitas
Angelo – Harry Ondrak-Wright
Dino – Alan Vincent
Mercedes – Eleanor McGrath
Monica – Karishma Young
Gina/Virginia  – Tanisha Addicott
Frankie – Rae Miller
Delores/Shirley – Serena McCall
Rocco – Harrison Dowzell
Bruno – Jarrod McWilliams
Hot Rod – Callum Mann
Chad – Xavier Andriambolanoro-Sotiya
Vito/Erick – Leonardo McCorkindale
Marco/Jose – Rory McLeod
Dirk/Chuck/Dexter – Danny Reubens
Creatives
Devised, Directed and Choreographed by – Matthew Bourne
Music – Terry Davies and Rodion Shchedrin’s Carmen Suite (After Bizet’s Carmen)
Set and Costume Design – Lez Brotherston
Lighting Design – Chris Davey
Sound Design – Paul Groothuis
Associate Artistic Director – Etta Murfitt
Resident Artistic Associate – Neil Westmoreland
Photo Image – Johan Persson
