Carmen Jones

B

In 1943, Oscar Hammerstein II had the bright idea to redo Bizet’s Carmen as a Broadway musical set in World War II with an all-black cast. The production currently at CSC makes a good case for reviving this rarity. Carmen becomes Carmen Jones (Anika Noni Rose; Caroline or Change, A Raisin in the Sun), a sultry worker in a munitions factory. Don Jose is now Joe (Clifton Duncan; The Play That Goes Wrong, Kung-Fu), a soldier who would like to go to flight school. Cindy Lou f/k/a Michaela (Lindsay Roberts; Lost in the Stars) is Joe’s hometown girlfriend. Sergeant Brown (Tramell Tillman; Tis Pity She’s a Whore) sets his sights on Carmen, but she goes after Joe. Escamillo has become big time boxer Husky Miller (David Aron Damane; The Book of Mormon, Big River) who also takes a shine to Carmen. She eventually ditches Joe for Husky Miller and pays for it in spades, specifically the nine of spades, a card foretelling death.The leads all have wonderful voices and are fine actors too. The other members of the cast —Erica Dorfler, Andrea Jones-Sojola, Justin Keyes, Soara-Joye Ross, and Lawrence E. Street — are also outstanding vocal actors. Rarely have I encountered such a concentration of vocal talent on one stage. I am not that fond of Hammerstein’s libretto and lyrics, but Bizet’s music is so well sung that I didn’t mind it that much. Scott Pask’s (Dead Poets Society, The Visit) minimalist set involves a lot of boxes of ammunition that are moved around seemingly at random. Ann Hould-Ward’s (Pacific Overtures, Fire and Air) ’40’s costumes are very good. Adam Honoré’s lighting is evocative. Joseph Joubert’s orchestration for six instruments works well. Bill T. Jones’ (Fela!, Spring Awakening) choreography consisted more of moving the actors around than in staging dance numbers. CSC director John Doyle (Pacific Overtures, Fire and Air) is back in good form; perhaps he should stick to musicals. Running time: one hour 40 minutes; no intermission.

NOTE: The staging is in the round but the director has not been careful to give all sides of the theater a good view. Try to get seats in the 100 section; avoid seats in the 300 section. CSC has gone to digital programs. If you want to look up anything before the play, be sure to bring your cellphone. If you can read the microscopic print on a cellphone, you are fortunate. Otherwise, you can pick up a program in the lobby on your way out of the theater. I hope this idea does not catch on. 

’Tis Pity She’s a Whore ***

Red Bull Theater, which specializes in plays of the Jacobean era, is presenting John Ford’s bloody revenge drama in a solid production at The Duke on 42nd Street. Amelia Pedlow and Matthew Amendt, as incestuous siblings Annabella and Giovanni, lead a strong cast of fifteen. Annabella’s three suitors, Lord Soranzo, Grimaldi and Bergetto, are well-played by Clifton Duncan, Tramell Tillman and Ryan Garbayo respectively. Derek Smith is impressive in the critical role of Vasques, Soranzo’s loyal servant. Franchelle Stewart Dorn makes a fine Putana, Annabella’s tutoress. Everett Quinton is good as Signor Donado, Bergetto’s uncle. Christopher Innvar, as Giovanni’s tutor and confessor Friar Bonaventura, seemed less comfortable than the others with verse. Philip Goodwin, Ryan Farley, Kelley Curran, Marc Vietor, Auden Thornton and Rocco Sisto round out the cast. The complicated plot of competing revenge plots runs like a Swiss clock under Jesse Bergers brisk, confident direction. David M. Barber’s scenic design is elegantly simple and Sara Jean Tosetti’s costumes are attractive. The second act is quite a blood fest, but such were the conventions of the time. The production does not sensationalize the gore. All in all, it was an evening well-spent. Running time: 2 hours 20 minutes, including intermission.