Review: Matthew Bourne’s The Car Man at Newcastle Theatre Royal

Invited: Review by Jon Isbell 8 September 2026

Love and lust, virility and vengeance, passion and pain. All are vibrantly brought to life with vigour in Matthew Bourne’s The Car Man. With music based on Carmen Suite – the Bolshoi Ballet version of the well-loved Bizet opera Carmen – and enhanced with additional music by composer Terry Davies, Bourne creates his own world in the 1960’s fictional US town of Harmony, shifting the opera’s cigarette factory setting for a small-town garage-diner.

The daily lives of the few inhabitants are disrupted by the arrival of enigmatic stranger Luca (Will Bozier). He is quick to antagonise the locals, though it becomes clear early on that his attentions will be focused on femme fatale Lana (Cordelia Braithwaite) who is unhappy in her marriage to garage-diner owner Dino (Adam Galbraith). That would be enough for drama in any small town, but when Luca also takes a shine to young, hired help Angelo (Leonardo McCorkindale) – who is also pursued by Lana’s more delicate sister Rita (Kurumi Kamayachi) – it is evident that hearts will be broken and tragedy will pick up the pieces.

Nothing about this production is apologetic or bashful and the storytelling is exquisitely woven into every movement from every performer on stage. The entire ensemble dance wonderfully and the detail in the choreography is not lost on anyone. The men exuded that singular 1960’s Americana homoeroticism with utter confidence. The female cast are strong and feminine, matching the visceral energy of the male cast shot for shot.

As one might expect from a New Adventures production, the choreography is exciting and breathes unique life into familiar music. Despite the piece now being 26 years old, every step still feels fresh and urgent. Bourne has interpreted the music so completely that when the stage is full, anywhere you look you will find delightful beats of movement linked to the smallest accents in the score. There are some beautiful and interesting lifts throughout to look out for, between partners of all genders, if you are here for the dance element of the show specifically.

Lez Brotherston’s set and costume design lay the groundwork perfectly so the audience will be in no doubt as to where they are. Act Two sees some clever tiny changes in the set to help move the story forward without the need for large moving parts distracting from the focus on dance. Lighting design by Chris Davey is just as successful in its subtlety, though the car chase scene eschews that wonderfully with set and lighting working together to create a sense of speed and space.

All in all, this production stands the test of time by setting itself in almost timeless surroundings and by virtue of the incredible talent and vision of one of Britain’s best-known choreographers.

Runs until 12 September 2026