‘Carmen—after Bizet’

Press, 15 April 1986, Page 8

‘Carmen—after Bizet’

“Carmen—After Bizet” for the Zeitgeist Theatre Company at The Mill Theatre, Riccarton; April 14 to 19, 8.30 p.m. Written and directed by Jacqueline Cosgrove, musical direction by Filipe Juan Bathez. Reviewed by Michael O’Brien. The Zeitgeist Theatre Company was established by Jacqueline Cosgrove in 1984 to provide a professional atmosphere for young actors seeking a career in theatre. As such it does an admirable job though the audience must be prepared for an occasional awkwardness and rough edges of actors in education. This play is loosely adapted from Bizet’s opera and Merimee’s novel and placed in a contemporary New Zealand setting. A cast gathers for a practice of "Carmen," waits in vain for its leading lady, and sinks gradually into a night of partying and parrying between would-be lovers. a bare stage, ex-

cept for some coloured beer crates, a growing cast of testy actors slowly transform their stage into a believable working set. Sullen frowns and stony glares are punctuated by cutting and fiery comment. The acting here, and sometimes elsewhere, relies too often on the extreme at the expense of the subtle. The play then lapses into a succession of exits and entrances amidst a sea-change of shifting relationships. The mature artist, Julian (Kalvin Scott), observes that “this play is beginning to look like a Restoration drama.” At times it has the feel of a television soap opera. Object of most attention and desire is the budding Carmen (Sonja Williams). Initially boy-shy and overly self-effacing, she quickly loses her reputation as “blessed virgin" to grow in knowledge with most of her male counterparts. Williams settles into , : the latter role more comfortably than that of the

earlier innocent. A host of others too many to mention explore the ingredients of “a meaningful relationship.” Teasings and flirtings dissolve into petty jealousies, insecurities and searchings. Most convincing here is Meeshay (Vicki McDowell), imbued with the spirit of dance and the frustration of possessiveness. But here, as in other sections, the dramatic effect is wrung too slowly and the play appears to lumber with purposeless ease.

“Carmen—After Bizet” is carried along by the music (mostly contemporary) which points up ironies and sensitive thematic comment. The cast seem most relaxed and forthright in their moments of dance. Timing is generally good. For a play that looks at the games and petty politics of relationships “Car-men-After Bizet” is interesting. It is a play with stimulating ideas but it slowly.