Managing Carmen

Garrick Theatre’s Managing Carmen is a well-presented incarnation of this modern Australian play, playing to Covid capacity audiences, and being very well received.

Garrick’s handkerchief sized stage is very well used in this rather episodic show, with Jake Newby’s set design consisting of well-chosen furnishings that serve multiple locales. Each location is established by excellent projections by Stuart Ridgeway, which include split screens and film. Jake Newby also provided lighting design. 

Costumes, very important in this show, are designed by Marjorie de Caux and Colleen Bradford, with wig work by Lynda Stubbs.

Thomas McCracken plays the central role in this tale of a Brownlow winning, cross-dressing football player. Convincing physically as a footie player, as well as looking great in a frock, McCracken plays Brent with great depth and care.

Sarah House is strong as psychologist Jessica, hired to help Brent with his reticence in front of a camera, while Pauline Rosman is believable as (hired) girlfriend Clara, in a beautifully layered performance.

Manager Rohan is given bluster and power by Tim Presant - a very good performance, although he has unusual phrasing at times, while Tim Fraser embodies sleazy sports journalist Max, very well.

A strong ensemble, that tells a convincing story.

The principal players are nicely supported by Kailem Mollard, Adam Giltrow, Ellien van Heerwaarden and Matthew Roberts acting as crew and playing a number of smaller roles.

The language and the concepts are a little bawdier and bolder than is usual in a Garrick production, but at the matinee performance I attended, the audience were loving this well performed show. A well-rounded, well-acted and directed modern Australian show.

Kimberley Shaw