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Although we don’t have an intimacy coach, we have and will – we haven’t got to the main bit yet – talk about permission, about talking to your partner making sure everything’s ok, ‘I’m going to do this and this’. They want to know why you’re doing stuff – they don’t naturally fall into what this show requires.” “The young people are not like they were a few years back, when we first did the show. “It is something you have to deal with today,” he explains. Although Scottish Ballet recently used them in its restaging of Mayerling, they are still rare in the dance world – what does Bourne make of the whole phenomenon? Thinking of the show’s grown-up themes, I raise the subject of the so-called “intimacy coordinators” who (depending on who you talk to) now either enrich or plague the world of film and TV. However, not all this year’s would-be performers were so enthusiastic. And the sex – they love all the sexiness of it.” “It’s tiring, it’s a heavy show, but it’s got a sort of free, throwaway energy that’s nice to do. “It has ended up always being the company’s favourite piece to perform,” says Bourne, now 62. With a cast now swelled from 19 to 39, an extensively beefed-up set and a “road” that runs all the way through the stalls to the stage, this restaging is an enticing prospect for audiences – and for the dancers too.
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The setting is a grimy 1960s garage and diner in the ironically named Midwestern town of Harmony, with Bourne and designer Lez Brotherston going the extra mile to generate an atmosphere crackling with illicit desire. Most fundamentally, the plot – set to a sharp reworking of Rodion Shchedrin’s orchestral Carmen Suite by Terry Davies – is not really Carmen at all but, rather, that charged tale of smalltown sexual intrigue, The Postman Always Rings Twice.
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And yet, this novel thread is just one of many ways in which his giddily sensual, crystal-clear reinterpretation of Bizet’s Carmen subverts its forebear. Audiences will soon be reminded of this for themselves when The Car Man finally opens, in a new lavishly expanded, lockdown-delayed staging. But being that specific – you wonder at what level it’s vetoed.”Ĭertainly, Bourne himself – knighted in 2016, cherishably easygoing in person, and the man behind (among many other critical and commercial triumphs) 2002’s Play Without Words, 2005’s Edward Scissorhands and 2019’s Romeo and Juliet – has never shied away from gay romance in his works. “‘Gender-fluid’ is an easy thing to say and do,” he says, “because anything goes. He ponders the idea that choreographers do, in fact, propose gay love stories, but that companies’ management balks. “My partner Arthur and I talk about Maurice as being a great potential Frederick Ashton-style ballet but with a male love story – that kind of thing, for me, could feel like a real breakthrough.” “I’d love to see a really straightforward Ashtonian kind of ballet,” explains Bourne. Strangely, because there are a lot of gay people in dance companies – not exclusively, obviously, but there are a lot of people that that would represent, and who would enjoy doing that. But actually telling stories about gay relationships just doesn’t happen in ballet still – very, very, very rarely do you see it, hardly ever. “I see what you’re saying about costumes and women lifting men and all kinds of things, and that’s all great – I’m all for that. I think you’ve missed out an element, actually. “I don’t think much has changed in that time. Does he feel that he, in that iconoclastic reworking of a 19th-century classical ballet – with its sexually undecided prince and famous all-male corps of waterfowl – somehow set a progressive ball rolling and showed the way for that art form? But the conversation strays, perhaps inevitably, to the show with which he first made headlines: his 1995 Swan Lake.īallet, in the gender-fluid 2020s, is showing an increasing fondness for subverting its historically stark male/female divide, from androgynous costumes to women taking on traditionally male roles and even lifting men on stage. The dance-theatre maestro and his troupe, New Adventures, are here for a few weeks to rehearse his blistering 2000 hit The Car Man, which opens next week in a specially tailored revival at the Royal Albert Hall. I meet Matthew Bourne in English National Ballet’s swanky east London base, all huge glass windows, Escher-like stairwells and capacious rehearsal studios.