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.
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.
