Theatre

Cranhill Carmen

Oran Mor, Glasgow

Mary Brennan, three stars

We’ve reached the last verse and chorus in Oran Mor’s mini-musicals season and it’s opera, folks. Well, after a graphic, gallus Glesca’ fashion. Benny Young has stripped back Bizet’s Carmen to the central three characters, relocated their tempestuous love triangle to a dingy back street in Glasgow’s city centre, tweaked names and certain aspects of their back-stories and – with the familiar tunes arranged by Hilary Brooks – conjured up a rammy between heads, hearts, testosterone and free will.

Cranhill Carmen (Charlene Boyd) arrives before us in red tulle flounces, peerie heels and ripped tights: she’s clearly been on the ran-dan and her opening ‘aria’ makes no secret of her sexually unbuttoned outlook on life. She’s in the process of relieving herself of more than her opinions when PC Donald John MacNeil (Ewan Petrie) appears, an upright, uptight young islander whose deeply religious upbringing - and family values - ensure he’s no match for a wanton hussy who seems beyond redemption. He wants to save her, of course. Enter Glesga Millio (Ryan Fletcher) who just wants her. He reckons they’re both free spirits, and he’s dressed like a matador (Escamillo, in the Bizet) to demonstrate his macho individuality.

So - two very different, equally smitten men. Will Carmen choose the swaggering, boastful cock of the walk, Glesga Millio? Or the naive Donald John, whose very rectitude makes him a delicious challenge? Young’s racy dialogue and lyrics favour the garrulously clarty end of local patois, but they’re sparked through with a wit and humour that director Liz Carruthers and the cast recognise as essential to the clash of desires that drive the characters to anger, aggression and yes, song. The handful of Bizet’s ‘hits’ are given tremendous voice by all three, with Ewan Petrie’s powerful outpouring of La fleur que tu m'avais jetée – here, it translates as white heather – a treat in itself. Bizet with gusto – and beezer with it.