“Carmen” as performed by Pacific Ballet Dance Theater on Sunday August 24, 2025, on the BroadStage made for an interesting afternoon. This production choreographed and directed by Natasha Middleton, brought together ballet, flamenco, Apache dancers and acrobats in a heartfelt and committed effort. Middleton comes from ballet royalty as her father and grandmother had been members of Ballet Russe de Monte Carlo and Ballet Russes de Basil. Andrei Tremaine, her father, at ninety-nine is the oldest living member of that once vaunted company. Ms. Middleton has been tasked with upholding this important and challenging legacy.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
Written as an opera in four acts in 1875 by Georges Bizet, “Carmen” was originally scorned by audiences as being too immoral. However, over time it gained in popularity and has been in the forefront of classical productions ever since. Unusually, there is no attribution to the composer in the Ballet program and I can only conclude that the pre- recorded tracks were indeed Bizet as played by a notable orchestra. This is a questionable oversight. The program does include a detailed synopsis as well as detailed descriptions of each Act giving us more information than can be absorbed while waiting for the lights to dim.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
“Carmen,” is a story of love betrayal and murder among the Romany of Spain. Carmen is a seductive minx as danced by Elen Harutyunyan a capable technician who understands her character. She is entranced and enchants dual lovers throughout the ballet creating jealousy and conflict. Don Jose as danced by Eduard Sargsyan and Lester Gonzales as Escamillo the toreador, do the best they can to bring these characters to vibrant masculine life but are more absorbed in the steps than the persona. Sargsyan, though an adequate dancer only truly shines in the final scene when so overcome with passion and jealousy, he murders the duplicitous Carmen. Here finally, we feel the emotion that must inhabit the characters and with this release of feelings the ability of the dancers improves too as they become immersed in their character and live through the choreography rather than doing the steps by rote.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
Middleton’s choreography is generally appropriate for the level of her dancers and is entertaining along the way. She is good with staging group scenes and is clever in whisking people on and off the stage. The terrific costumes by Heather Blades of “Micaela’s Costume Design,” go a long way in keeping the stage bright and the eye entertained. Lighting Design by James Smith III also adds much atmosphere to the proceedings.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
A chair dance introduces the women of the cigarette factory where Carmen works. These student dancers commit themselves to the expected movement of a sexy “chair” dance but are lacking in the needed sensuality. They fill many roles throughout the ballet and their work is clean and well-rehearsed however it can feel stilted in trying to be exacting. Still, Middleton was smart in creating choreography that was within their wheelhouse while giving them an opportunity to be part of a larger theatrical experience.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
Unfortunately, the male dancers did not come through as well as the young women. They were trying for tricks, turns and leaps beyond their ability and more times than not fell out of position. There was too much effort and not enough finesse Middleton would be wise to keep the choreography within the abilities of these cast members rather than trying to reach for something that is not yet attainable. Often simple is better.
This was an ambitious project to take on for a nascent company. The story of “Carmen”, is complicated full of lust, deceit and human drama which needs a strong hand, excellent dancers and a robust telling. Middleton does her best to make the story clear and to bring these emotions to the fore and when she succeeds there are some very nice moments indeed.
Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
The hardworking performers not mentioned above were: Damara Titmus as a lovely Micaela, Yelena Zerkovska, Nutella Devitskaya, Annya Redfern, Megan Van Darren, Hannah Hart, Chantal Plamondon, Aida Tonoyan, Alicia Khashaki, Manuela de Souza, Miricle Blankenship, Michael Asilyon, John Marco Melucci, Patrick Fitasimmons, Arin Norhadian, Andrew Claus, and Jodon Muller.
For more information one the Pacific Ballet Dance Theatre, please visit their website.
For more information on the BroadStage, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Pacific Ballet Dance Theatre’s “Carmen” – Photo by Tom Pease.
Ms. Tam,
I just finished reading your review on Pacific ballet Theatres production of Carmen.
I was very disappointed in how you reviewed this wonderful performance. I was there and by reading your review just now it made me feel like I wasn’t there at all. Because what I witnessed was a magnificent portrayal of the story and the dancers were extraordinary. I brought someone with me who was not familiar with ballet, but was completely taken by what she saw and how wonderful it was. When reading your review, you mentioned that you were a dancer I don’t know who your teacher was but I can honestly say for you to review this production the way you did shows that you really do not know very much about dance.