Hedy Weiss: Theater Reviews
Chicago’s Visceral Dance Company Soars in ‘Carmen.maquia’: Review
Laura Mendes and Tyson Ford in “Carmen.maquia.” (KT Miller Photography)
The story of Carmen, that gypsy girl of southern Spain who set men on fire (whether he was a lovesick young soldier or a supremely confident matador), began as a novella by Prosper Merimee published in 1845. Then, in 1875, it was turned into a universally beloved opera by the French composer Georges Bizet.
Over the years that opera has become the source of countless different interpretations in many and varied art forms. And in 2010, Gustavo Ramírez Sansano, the Spanish choreographer who led the short-lived Luna Negra Dance Theater of Chicago, created a fascinating, richly theatrical contemporary version of the story for the company. Titled “Carmen.maquia” (the title plays on the word bullfight to describe its central character), he set his version solely to Bizet’s orchestral (non-vocal) score, with several deft manipulations made to the original.
Sansano’s remarkable, notably modernistic production is now being revived and dynamically performed by Visceral Dance Chicago on the stage of the Museum of Contemporary Art. It has been booked for just four performances (through June 30). If at all possible, try not to miss it.
The Visceral company — which was founded in 2007 by Nick Pupillo and most often performs at its wonderful home at 3121 N. Rockwell St. in the Avondale neighborhood — deserves far greater attention. And this powerful, tremendously compelling production of Sansano’s “Carmen” is vivid proof of both the exceptional technique and dramatic talent of this professional company.
Justin Bisnauthsing and company in “Carmen.maquia.” (KT Miller Photography)
The piece stars Laura Mendes as the notably seductive and manipulative Carmen, and she is the only character in the production who dresses in black, while all the others wear white. Tyson Ford is Don Jose, the lovesick soldier Carmen seduces and then abandons in favor of Escamillo (Justin Bisnauthsing), the flashy, egotistical matador to whom she is intensely attracted. Not surprisingly, the on-and-off romances among the three cause immense havoc and despair, with Micaela (Alessandra de Paolantonio) as the woman who is in love with Don Jose.
All four of these roles are ideally danced and acted. So are the supporting roles, with an impeccable cast that features the female cigar makers known as Cigarerras (Grecia Cruz, Nia Davis, Leslie Marfil, Kaliana Medlock and Erika Shi), the guards or Guardias (Gabriel Canepa and Andres Castillo Gomez), and the Gitanos or male gypsies (Da’Rius Malone and Javares Selby).
The ultra-modern white and richly textured set design is the work of Luis Crespi, with costumes designed by David Delphin that have a deft but stylish minimalist twist. And, like Sansano’s choreography itself, the production deftly suggests something beyond traditional flamenco design.
Laura Mendes and Tyson Ford in “Carmen.maquia.” (MReid Photography)
The two remaining performances of “Carmen.maquia” are at 8 p.m. Saturday and 2 p.m. Sunday at the Museum of Contemporary Art, 220 E. Chicago Ave. For tickets, visit visceraldance.com or phone 773-772-1771.
Note: The Visceral company will be performing outside Chicago this summer with stops at the Newport Dance Festival in Rhode Island (July 17-21), Wisconsin’s Death Door Dance Festival (July 26-28) and Dance Festival Milwaukee (Aug. 3). The company will then return home in time for Chicago’s annual Dance for Life program (Aug. 10 at the Auditorium Theatre).
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