Words by India Farnham | Photos by Johan Persson
Sizzling, shocking, sexy, sweaty. Matthew Bourne’s The Car Man has been described in terms that I imagine many traditional ballet choreographers would shudder at.
The production, which was first performed in 2000, is loosely based on Bizet’s ever-popular opera Carmen, and is set in the sweltering American Midwest during the 1950s. The story follows the handsome and magnetic Luca, who, after arriving at the town garage as a complete stranger, commands attention (especially from Lana, the garage owner’s bold and alluring wife). Desire abounds, betrayal is inevitable, and tensions boil over quicker than you could say pas de bourrée dessus-dessous.
The relationships in The Car Man are so layered that when those tensions finally boil over, it feels both exhausting and incredibly rewarding”
Will Bozier, Luca
With its passionate romance, slick, leathery costuming and penchant for cigarettes, The Car Man is the ballet world’s rebellious teenage cousin. Let’s meet Will Bozier and Cordelia Braithwaite, the word-class dancers who will be bringing main characters Luca and Lana to life.
Hi, both! With its film noir aesthetic and adult themes, The Car Man is an unusual, sultry production. Cordelia, what originally drew you to playing Lana?
Cordelia: What drew me to Lana was her power and her ability to manipulate. It is a really satisfying journey I have with Lana on stage; as the show goes on, she intensifies, her power becoming more complex.
Will, how would you describe Luca to someone seeing the production for the first time?
Will: Luca is magnetic, confident and unpredictable. He’s someone who walks into a room and immediately changes the atmosphere. He’s driven by desire and ambition, but there’s also a complexity to him. He’s not simply a hero or a villain. He’s someone whose choices have huge consequences, and that’s what makes him such a compelling character.
Consider us compelled. Cordelia, we hear you are returning to this role after 12 years. Welcome back! Do you think your approach to Lana has changed this time around?
Cordelia: Absolutely. I first performed Lana when I was 21 and when I think back, I was very confident with her then. I loved how bold she was. I think I related to her power, in a way.
Now, at the age of 33, my approach is very different. It’s interesting to return to a role 12 years on; I have gained more experience in my personal life and in my career and I think that’s what makes it special.
Ironically, the challenge I had with returning to Lana was that my 21-year-old confidence was no longer there. I was more conscious of how she was coming across because I wanted her to be as authentic and rich as she could be.
Will, Luca’s story involves power, passion and conflict. How do you approach portraying those qualities through movement?
Will: For me, it all starts with intention.
Luca doesn’t waste movement. Everything he does has a purpose, whether he’s trying to charm, intimidate or manipulate.
I think about where his power comes from in each moment. The passion is very instinctive and physical, whereas the conflict often sits underneath the movement. Sometimes it’s about restraint rather than doing more.
Matthew’s choreography gives you so much to work with emotionally, so it’s about trusting the movement and allowing the audience to see what’s going on beneath the surface.
I first performed Lana when I was 21 and when I think back, I was very confident with her then. I loved how bold she was. I think I related to her power, in a way.”
Cordelia Braithwaite, Lana
Performing as these characters sounds like it could be emotional. Is there a particular moment or scene that feels cathartic to perform?
Cordelia: For me, the end of Act 1 is the most satisfying and cathartic scene to do. It is at the peak of Lana’s arc in her story. Choreographically, the way Matthew has orchestrates each scene is so clever! It’s like watching a film.
Will: I really enjoy the moments where the emotional stakes are at their highest. Those scenes demand complete commitment, physically and emotionally, and they’re incredibly satisfying because you feel the audience right there with you.
The relationships in The Car Man are so layered that when those tensions finally boil over, it feels both exhausting and incredibly rewarding.
The Car Man is an intensely physical production. How have you both prepared to take on these roles?
Cordelia: Usually, to prepare for a show the whole company will take either a ballet or contemporary class to get us started for the day. As well as that, I will do a lot of conditioning to keep up with the 7-show weeks.
Will: Preparation was a combination of physical conditioning and getting into Luca’s mindset.
I spent time thinking about his motivations and relationships so that the movement felt truthful rather than just technically accurate. Recovery is also a huge part of the process. Looking after your body is essential in a show as demanding as this.
Guys, we can’t wait to see you perform in Bristol. Have you got any plans for how you’ll spend your time off in the city?
Cordelia: Well, Bristol is my all-time favourite city and is in fact where I eventually want to reside with my partner! My brother lives there too, so I tend to stay with him and spend quality time with him and my niece.
Will: I’m really looking forward to exploring Bristol whenever we get the chance. It’s such a vibrant city with a great food scene, so I’ll definitely be trying to find some good coffee and somewhere nice to eat.
If the weather’s kind, I’d love to have a wander around the harbour and just enjoy a bit of downtime before heading back to the theatre.
Catch Matthew Bourne’s The Car Man at Bristol Hippodrome from 1 – 5 September. Tickets available here.