June 4, 2008
Art and Athleticism in Synetic's Carmen At Kennedy
You have to give Ben Cunis props for sheer athleticism.
The co-star of Synetic Theater's production of Carmen spends a good portion of the production hoisting himself over, under and through the winding metal, cage-like set constructed for the production. It's an impressive feat (enough to generate more than a few exclamations of "Oh my!" from some of the Kennedy Center's older patrons).
But when he's not showing off his strength, Cunis is equally adept at demonstrating the simmering jealously of his character Don Jose particularly through the medium of dance. One of the play's opening scenes has him surrounded by a Greek-like chorus of women, haunting him about his lost love, Carmen. The character whips into near frenzy, contorting and twisting in a choreographed rage.
But enough about Cunis. The play is called Carmen, after all, and we have a more than formidable one in Irina Tsikurishvili, Synetic's choreographer and signature diva. She's coquettish without being cutesy, and as wholly seductive as the show itself.
The show's movements, heavily Spanish-influenced but much more stylized, make this an expressionist take on the famed opera. Flamenco is very present here, and in a particular highlight, one dancer (Vato Tsikurishvili) transforms into a convincing bull. A mischievous, dashingly-dressed fiddler also wanders through the proceedings. The show's music, composed by company favorite Konstantine Lortkipanidze, is no throwback to the original; its darker, trance-like tones enhance the show's steamy feel.
The show almost doesn't need words to get its point across; Synetic often deals with silent interpretations of classic stories, and this may not have been a bad route to go with Carmen - the sparse dialogue the story has is pretty wooden. But the words are kind of an afterthought - this is a show that manipulates your emotions with movement, where passion gets personified.
Carmen runs through June 15 at the Kennedy Center. Tickets are available online.
| 
add to stumble upon
add to reddit
email this
add to facebook
add to del.icio.us
I've seen this guy, he's pretty good!
http://fakesteveballmer.blogspot.com
This production was horrible. The stage set was not a bad idea but the "dancers" (they weren't really dancers as there was virtually no dancing at this dance concert) used the set like monkey bars. They kept twirling around and hopping on top then on the floor, top, floor, top, floor. No dancing at all. The worst part was when they spoke. These are supposed to be dancers, not actors and the very worst part of the show was when they spoke. As if we don't know the classic story of Carmen? Also, this production is racist. There was this entirely superfluous tangent in which Carmen's husband is released from prison -- a coke dealer. Black, of course. All the black dancers had to play drug dealers. I cannot express how dissatisfying this performance was. Don't go, don't pay.
Also, athleticism? No. None. You can't really comment on the choreography because there was none.
Okay so Icossette is way off the mark here. Synetic THEATER is a not a dance company. Point in case when you purchase your tickets at the Kennedy Center it is listed under Theater. In fact there is only one person in the cast of Carmen aside from the Choreographer (Carmen) who is a trained dancer the rest are all, yes you guessed it, actors. As for racist part did you happen to notice, IN THE DIALOGUE, that Carmen's husband is named Garcia? Funny name don't you think if the aim was to stereo type a race. Perhaps that is an issue Icossette needs to work out on their own. And what do you mean no choreography there are three dance numbers where the entire ensemble are, let me hear it, yes...DANCING. Aside from that very nearly the entire rest of the show from the bull fights, the gypsy robberies, the staged fights, and the sex scene between Don Jose and Carmen are all, again, choreographed. So you tell me when the entire cast is out of breath and sweating up a storm that it is not athletic...you try it and lets see how your stamina holds up. Further this production is based on the novella by Prosper Mérimée not the French opera by Georges Bizet and yes the stories do vary significantly in parts. Therefore most people even if they happen to be familiar with the popular story the opera of Carmen presents (which I have found not to be the case) are not that familiar with the Novella. And finally if you think it is so bad you are in the minority, read the reviews, and on top of that it has just been extended for another two weeks by popular demand. Not bad for a “horrible” production wouldn’t you say.