Matthew Bourne’s The Car Man – Review – Hull New Theatre
By Rachel Howard, July 2026
I’m no opera buff but even I’ve heard of Bizet’s Carmen. In fact, when I look up the score, I’m actually – unwittingly – familiar with the music.
So, when I hear there’s a new show in town, based on the world-famous opera, and devised by the top-class choreographer Matthew Bourne, I know the theatre is calling my name.
Hull New Theatre is relatively busy for a Tuesday opening night, and we’re thrown straight into proceedings as the curtain is up as we take our seats. In fact, the action has already started as the cast mill about on stage, tinkering with cars and having a drink at Dino’s diner in the fictional US town of Harmony. “Welcome to Harmony” the sign says… one has to wonder just how harmonious Harmony really is… but more on that later.
Firstly, it would be amiss of me not to state that this show has no spoken dialogue. Much like the opera it is based on, the story is told through the medium of music – and more significantly in this case – dance.
“Smouldering”
This concerns me a little, having never been a fan of following a story through the movement of the characters alone. However, I soon realise that this is not the case with The Car Man, and I’m quickly absorbed in the story as the characters twirl, chassé and leap across the stage.
Although the plotline for The Car Man differs a fair bit from the opera Carmen, the themes of lust, fate, revenge and murder remain. Interestingly, The Car Man is actually loosely based on James M Cain’s classic novel, The Postman Always Rings Twice, in which a mysterious drifter arrives in a small US town and begins a dangerous love affair with a married woman, whose husband they plan to kill off.
The Car Man’s drifter is Luca, played tonight by Harrison Dowzell. Smouldering and passionate, Luca soon makes his presence known in Harmony, taking a shine to diner and garage owner Dino’s much younger and very glamorous wife, Lana. Dino, played by Alan Vincent, is an unlikeable character who physically abuses his wife. It’s no wonder that Lana’s (Ashley Shaw) head is turned by the sexy newcomer Luca.
“Whipping up tension”
However, things are complicated when Luca meets Angelo (Harry Ondrak-Wright). Initially, Luca steps in to protect Angelo from bullies, but what starts as a friendship soon develops into something far more passionate. This leaves Luca conducting a dual-seduction – Lana to Angelo and back again, it’s hard to keep up! Angelo’s wife Rita (Kurumi Kamayachi) can sense her husband is holding something back, but fails to see what’s right under her nose.
Juxtaposing the passionate, heady and erotic first half (which, spoiler alert, includes a fleeting moment of nudity), the second half is an altogether darker affair, as truths come to light, revenge is sought and lives are ended. Considering the lack of dialogue on stage, the tension in the theatre is palpable as we’re all swept into the disharmonious world of Harmony, USA.
All five lead characters sizzle in their roles, whipping up tension and chemistry in equal measure. Harrison Dowzell as Luca commands the stage, setting the auditorium alight with sexual energy. Ashley Shaw’s Lana is very much his equal, sashaying across the stage seducing everyone in sight. It’s an intense and fiery production that leaves us all somewhat breathless!
What really sets this production apart is the standard of dance on display. The super-talented cast are all highly trained – many of them at the Rambert School of Ballet and Contemporary Dance, and it really shows, Having seen Rambert’s Peaky Blinders: The Redemption of Tommy Shelby a couple of years ago, the dance style here is very similar. The use of the body to tell a story is captivating – limbs intertwining and acrobatic arabesques perfectly portray love, lust and hate.
“Masterclass in theatrics”
All of this is underscored by Terry Davis’s powerful arrangement of the classic score, alongside his newly created pieces, written especially for The Car Man.
Lighting design by Chris Davey is particularly clever in the second act, using dark red to highlight the ominous torture of prison life and the feelings of guilt, revenge and grief. The lighting, plus the set and costume design (Lez Brotherston) help transport us to small-town America, where few realise what is going on behind closed doors, and erotic tensions simmer in the mid-summer heat.
Matthew Bourne’s production is a masterclass in theatrics and choreography, performed beautifully by a cast of seriously talented individuals. In fact, the whole ensemble spends a staggering amount of time on stage, with very little downtime. Their energy is magnetic, drawing us in over the course of two hours and bringing us to our feet for a much-deserved standing ovation.
The Car Man is an intoxicating, intense rollercoaster of a production, showcasing not only the legend that is Matthew Bourne, but also a cast of amazing performers that work overtime to portray the story of Luca, Lana et al and the spicy heat of Harmony, USA. And all that without one single word spoken. Bravo!
‘Matthew Bourne’s The Car Man’ is at Hull New Theatre until 4th July
After studying English at university and having a lifelong love of writing, Rachel, a full-time editor, came to On Yorkshire in 2017 where she started off reviewing theatre productions in and around the East Yorkshire area. That love of theatre soon expanded into hotels, restaurants and travel, not to mention becoming one of On Yorkshire’s resident beauty editors, reviewing the latest products, spas and treatments. Rachel loves to sample the very best Yorkshire and the UK have to offer in order to bring you the low down on the high life!
