JADAR

Ahead of Carlos Acosta’s Carmen coming to Manchester, we sat down with Cuban dancer Frank Isaac.

What is Carmen and what makes it special?

“In my opinion, Carmen is a story of passion, jealousy, and the search for freedom. I think what makes this production special is the raw energy. It’s charged by very Cuban energy, and the dancers are endowed with this as well which translates as fire, passion, desire and a lot of character. Carlos stripped away the Spanish ornaments such as fans, as he wanted to focus on the human emotions. For me, one of the most unique elements of this ballet is the secular stage design that represents a Spanish bullring. The movements create a very powerful, immersive atmosphere that you don’t usually see in any other ballet.”

Carmen originated as an opera. How does it translate into ballet? Are there any challenges created by the transition? 

“There is a fascinating transition. Where the opera relies on the power of the voice, this ballet relies on the power of the body. In the opera, Carmen expresses her defiance through her voice, but in our ballet we have to express that same rebellion with our movements- a sharp movement or specific gaze. We have to be dancers, but at the same time we have to be intense actors to ensure that the audience is feeling what we’re feeling.”

The bull becomes a very significant symbol in this production. Could you tell me more about the character? 

“I am one of the dancers that plays the bull. For me, it’s not just a character. I think that the bull is a powerful metaphor that represents fate. He is an unstoppable force that leads Carmen, Don Jose, and the whole ballet. The bull is the star of the show, the transition between one act and another, and is the end. This character is visually striking because the dancer portraying the bull creates a sense of tension, and he’s always there lurking at the shadows of the stage, and his movements are very animalistic and grounded. This character is very powerful.”

Acosta’s show pairs Bizet’s score with original compositions. Does this have a big impact on its style? 

“Absolutely. The addition of original composition has a profound impact on the atmosphere. It changes the style by making the show feel more contemporary and percussive. For me as a dancer, the sound of the drums is very grounding and very Cuban and very powerful. We say that the drums represent the heart, so it’s very rhythmic and intense.”

Acosta’s choreography blends classical, contemporary and folk. Is it fun to experiment with these different styles and bringing Cuban dance to the UK? 

“Yes, it’s really fun actually. It feels liberating because these styles complement each other to tell the story. You can see the elegance of the classical ballet and mix it with Spanish footwork, and then suddenly you have a modern Cuban contraction or a Cuban fall in the middle of the tavern for example. I think this forces you to be more aware of your body and helps to express your emotions.”

Projection, colour, and minimalism play a big part in the show. As a performer does a simpler set change your approach/interactions? Is there more freedom or need for expression as a result? 

“When the stage is minimalist, there is no where to hide. You don’t have big props or busy scenery to distract the audience, so the focus is on the dancer and their emotions and movements. It [the space] gives us a lot of freedom, but it also requires more intensity because every movement you do has to be bigger and more meaningful to create a close connection to the audience.”

Is it difficult to perform in different roles each night? 

“For me, it’s very exciting but at the same time it is challenging. I have to change my mind-set before the races because you have to become the character while you are doing your warm-up. You have to create that scenario in your head to create the character. Some nights, I focus on the bull and the mysterious energy and presence of the bull. Other nights, I focus on the more technical roles and steps.

For the bull, I try to stay very calm and with my own feelings. I say to myself: “now you are not a human. You are fate. You are a thing. You are something that is beyond human feelings”.

And for the other characters, for Escamillo I think you have to be the most powerful man in the world- no body is better than you! Then Don Jose has lots of transitions of emotions. He’s always transitioning during this show.”

Does touring come with any extra challenges? 

“Yes, the biggest challenge for us is the schedule because sometimes you finish very late at night. Then you have to go to the hotel and pack the suitcases at 2am. Then you have to get up early to the next destination. We run on very little sleep and a lot of coffee to keep the body awake, but I think it’s worth it at the end of the day.”

Do you have any pre-show traditions?

“We used to do a very big hug as a group in the centre of the stage and use the famous phrase “break a leg”, but in Cuba, we say ‘mucha mierda?’. My favourite is to knock on the floor three times and wish good luck.”

Carlos Acosta’s Carmen tours the UK until May 9, playing Opera House Manchester from April 22 (tonight!) to 25.