INDY'S WEEKLY ALTERNATIVE NEWSPAPER HIGHLIGHTING ARTS, ENTERTAINMENT AND SOCIAL JUSTICE

Carmen redux

Carmen with a husband? Escamillo the toreador rammed to death by a bull? Georges Bizet’s 1875 swan-song opera Carmen’s immense popularity over the entire 20th century once again confirms that success breeds imitation, emulation, variation. A first-time collaboration of Indianapolis Opera, the Butler Theatre and the Indianapolis Chamber Orchestra is presenting The Tragedy of Carmen, a 1984 adaptation of the Bizet opera by Peter Brook and Jean Claude Carriere. The production’s venue is Butler University’s Black Box Theatre in Lilly Hall, a small theater-in-the- “round.”

How’s the following for a Carmen adaptation: a production scaled back from over three hours to 80 minutes — no breaks; a cast featuring only eight performers — no supernumeraries; an orchestra scaled down to 14 players, including a pianist; an earthen-floor “stage” with a chair or two, a table — or nothing at all; a seating capacity one-twentieth of Clowes Hall, IO’s usual venue. To compensate for the limited seating, Tragedy is being given eight times during the current two-week period. I hope it does better than last Saturday’s matinee; the Black Box was just over half filled. Because this unique production is well worth seeing.

Whether you’re an experienced Carmen aficionado or an opera neophyte, you get overwhelmed by the lion’s share of Bizet’s memorable tunes — some out of their usual order. These are coupled with a plot line also at some variance with the Meilhac and Halévy libretto used by Bizet, and more resembling the source novella by Prosper Mérimée. This explains Carmen’s husband: She didn’t have or need one in the full opera. This explains Escamillo’s death: He finally triumphs (off stage) in Bizet’s bull ring.

The young, mostly post-college cast not only shows promise for excellent singing careers but pour themselves into this production with enough sensual fervor to compensate for other perceived shortcomings. For example, mezzo Elizabeth Shannon, singing the title role, often hoists her skirts, showing lots of thigh while she and tenor Edward Garner as Don José clinch, playing at mutual seduction throughout the 80 minutes. Near the end they briefly assume the standard love-making position (as though on a “mission”) right there on the “ground.” This conveys an intimacy level wholly apropos to an intimate theater, an intimate production, an intimate setting — one not quite realizable on a big stage with a big orchestra segregating the audience. Slender, chaste Micaëla — betrothed to José — is nicely sung by soprano Moira Kelley. Manuel Arteaga cuts a fine figure as the bull-fighting Escamillo, though his light baritone needs more vocal maturity. IO conductor James Caraher’s 14 ICO players sound more insecure with this sized ensemble than does the full orchestra in the Clowes pit.

The Tragedy of Carmen continues through April 25. For times and ticket information, call 940-9659.