Carmen (Adria Diaz) is a seductive Spanish Gypsy who sets her sights on the dragoon, Don Jose (Alexander Araias), who initially rejects her in favour of his village girlfriend. But there is something irresistible about Carmen and when his senior officer Zuniga, (Leonardo Fernandez), himself captivated, commanded Don Jose to arrest Carmen, he risks his life and honour to set her free.

Meanwhile Carmen has taken a fancy to Escamillo (Paul Brando) and seizes the opportunity to run away. It all ends in tragedy when Don Jose, now obsessed with her, forces her to choose and kills her. Carmen is an enduring story of passion, lust and jealousy and Carlos Acosta’s choreography seamlessly blending classical ballet and Latin influences, has captured that on stage and brings a fresh highlight to the story.

The performance starts with the dramatic arrival of The Bull, (Frank Isaac) who is used as a narrator, a presence, that controls the outcome, waking Carmen from the dead to tell her story. Ultimately the Bull destroys Carmen and carries her away like a limp carcass at the end.

Adria Dias captures the essence of Carmen, the only dancer en pointe, her technique and footwork are faultless. Whether the softer, sensual, pas de deux with Don Jose or the more intense passion she displays with Escamillo or indeed the torrid aggression that is shown in her dance with the bull (Frank Isaac), all the emotions are truly believable.

Alexander Arias is a touchingly innocent as the vulnerable Jose who is truly in love with Carmen and it is heartbreaking to see his offering of an engagement ring rebuffed. The image of Jose and Carmen in the prison cell says it all, as she plays him at the end of a rope. He thinks he has caught her but in the end it is she who binds him and escapes.

Paul Brando is an imposing figure as the posturing Toreador, Escamillo, assured and powerful.

Staging is minimalist, overcast by a huge red porthole on the rear wall through which, Nina Dunn, using video, paints wonderful pictures of stormy clouds that depict both mood and emotion. This focusses the attention on the dancers and makes every gesture and emotion more intense.

The corps de ballet is undeniably impressive and brimming with energy when given the full breadth of the stage, however the scenes placed in front of the curtain feel crowded and visually muddled, forcing the dancers to hold back their enthusiasm.

This Carmen is a collision of worlds in the best possible way. Classical opera meets Cuban heat, and the whole thing crackles with a kind of bold, hybrid energy that feels totally its own.

Reviewed by Nina Gardner

Four Stars.

Showing at Woking Theatre, May 6th – May 9th 2026

Tickets and more details are available at the link below

https://www.atgtickets.com/shows/carlos-acostas-carmen/woking-theatre/