Carmen Live or Dead
Both being married to other partners, it was just a brief affair in the Mexican summer of 1937 between the political revolutionary, Leon Trotsky, and the artistic revolutionary, Frida Kahlo. So, what if they had a love-child? Natalie Gamsu is the fictitious Carmen Frida Leon Davidovich, a hermaphrodite (or as she reminds us, intersex) who is the central character in Carmen Live or Dead, seeker of love in a world that does not understand what it is to be both male and female.
Carmen Live or Dead is Carmen Frida Leon Davidovich’s life story told in a type of rock opera with Gamsu dominating the night, along with Andrew Kroenert (Musical Director and Angel, Carmen’s only love) playing guitar and Stefanie Jones adding mime touches and violin moods.
Both Kroenert and Jones wear death-like makeup that pales in comparison to Gamsu’s floral headdress, black corset, black leather panniers, black tights and boots. Her almost shaved head, crimson lips and just a wisp of a moustache leave you in doubt whether the performer is really male or female.
However, that is not the point of Carmen Live or Dead. Frida (Gamsu) takes us on a rocky journey that is her life which ranges from Russia to our own Whyalla. We are whisked through the passing of her mother, being bought up by Russian nuns, falling in love with Angel, an Australian lifeguard and her eventual death from a mysterious disease.
Coincidentally we are to witness her final night on this earth, but before we do that Frida teaches us about love, loss, acceptance and reality. With her remarkable Mexican/Russian accent and dynamic voice the style of the show varies from broad comedy, frank language, nudity and more than just a hint of pathos and tears.
Highlights of the night are – an anatomy lesson about male, female and hermaphrodite with audience participation (‘Viva Hermaphrodite!’), Carmen’s realisation of her sexual plight (‘Something’s Not Right with Me’) and her sexual awakening complete with bondage restraints (‘Open Wide, My Sex Has Come Inside’).
Frida’s love life is the focus of Act 2, however as Frida tells us she does not like intervals, so she entertains us through what would had been the interval. Angel, her beloved, proposes and wants children. Of course, Frida cannot have any and is left with a dilemma (‘I Can’t Escape Myself’).
She leaves Whyalla, only to return years later and find Angel married. Frida makes the ultimate sacrifice and devotes herself to the young couple’s life. She leaves them a famous painting from her mother (with conditions) and prepares for her death.
As wonderful as the show was, I was left feeling unsettled. Certainly not the music; the songs were polished, gutsy and full of feeling, especially the famous ‘Besame Mucho’. The constant flipping from broad comedy to pathos made it hard for me to become totally involved, as good as Gamsu’s performance was. The performances styles did not always flow well from one to the other.
That being said, Carmen Live or Dead is a thought provoking show that entertains, educates and amuses with more than a message or so for the audience to take away with them.
Barry Hill
Subscribe to our E-Newsletter, buy our latest print edition or find a Performing Arts book at Book Nook.