Matthew Bourne’s ‘The Car Man’ at the Sheffield Lyceum is utterly stupendous. Despite the show not having been on tour in the UK for over 10 years, it has certainly returned with fervour. The performance had already begun before the audience had even filled the seats, before the lights even went down – with the dancers playfully flirting with one another, hanging signs up and fixing cars. With a show so full of action, passion, deception and desire, the immersive prelude was just a glimpse into what was to come.
The creative direction and choreography of Matthew Bourne was deeply moving. It elegantly wove classical ballet with contemporary and modern dance. I particularly enjoyed the Act 1 finale, which featured line dancing and a hoedown during a party, contrasting deliciously with the simultaneous darkness of Dino’s murder. I must mention that although it never felt boring, it sometimes felt overwhelming and almost excessive, with several scenes ongoing at once. I was very engrossed in how the dancers’ movements ranged from “traditionally masculine” and “traditionally feminine” to upbeat to sensual – the diversity within the dancing was splendid.
Terry Davies’ orchestration blended seamlessly, with no elements seeming unusual or unfitting. Sound design, led by Paul Groothuis, was generally fluid, with many tense moments having time to linger; however, I found the cricket sound effects to be overly repetitive and drawn-out, almost distracting.
My biggest applause goes to Lez Brotherston’s set and costume design as well as Chris Davey’s lighting design. Brotherston was able to fill out the stage with pieces that were visually stunning, versatile and believable: particularly the central piece that transitioned from the Mobilgas building to cell blocks and back again. Nothing ever felt empty or unfurnished, the set consistently felt like a real, small 1950s Midwestern town. The costumes were also phenomenal, with plenty of costume changes and variety. Not to mention the special effects and pyrotechnics being the most true-to-life I’ve seen at the Lyceum so far. Davey’s lighting design was incredibly pleasing, with many symbolic moments having their own personal vibe; the Act 1 finale wouldn’t have had the gut-wrenching impact it did without the bright fuchsia and blue lights cutting to the cold white. It never failed to drag the audience deeper into the story.
The dancers themselves were beyond impeccable. There was not a moment when even a hair was out of place, and each member of the ensemble got to show off their character’s personality with a cheeky wink or grin towards the audience. With such a theatrical, story-driven show, it is vital that cast members’ facial expressions were deeply telling throughout, and needless to say, each individual most definitely delivered. I also must mention how quickly the set was moved by both the cast and the set team, with two almost full-sized cars being tucked away within a very, very short blackout.
Cordelia Braithwaite’s Lana was charged with both passion and anger, which reflected greatly in her dance. She is an incredibly talented performer, displaying high levels of charisma and artistic ability – it was immediately and abundantly clear why she was selected for the role. Lana’s defiance and individualism were safe in Braithwaite’s hands.
Luca was played by Harrison Dowzell, effortlessly portraying a suave, enigmatic and (soon) guilt-stricken drifter. There were several times where it looked as though he was literally floating; a wonderful display of both strength and finesse. His ability to adapt and play with dark and uncomfortable themes was amazing, and his chemistry with other dancers and love interests was palpable.
Kurumi Kamayachi as Rita and Leonardo McCorkindale as Angelo presented equally strong performances. Kamayachi’s transition from naive love to distress between the acts was exceptional, and McCorkindale’s representation of Angelo’s struggle with homosexuality and criminality was more than moving. Their Act 2 performance together was a particular highlight for me, as it was genuinely haunting. Kamayachi’s ability to portray fear and reservation is highly commendable, and McCorkindale’s raw emotional delivery never once wavered.
Danny Reubens’ Dino was not on stage much by comparison to other leads, but when he was, he was successful in representing a sexist, abusive character and had a strong stage presence. Reubens did a good job of ensuring nothing was too overdone, with his dance with Dowzell in Act 2 being somewhat lighthearted and humorous, while also being sombre and frightening.
This dance thriller is a spectacular watch, but it must be noted that it is indeed for older audiences, with many erotic scenes and some brief nudity. I’ve historically been a bigger fan of musical theatre over dance, but ‘The Car Man’ had me continuously hooked.
Matthew Bourne’s The Car Man is running from Tuesday 21st July to Saturday 25th July at the Sheffield Lyceum, with tickets and more information available at https://www.sheffieldtheatres.co.uk/events/matthew-bournes-the-car-man The UK tour will then continue until November 2026, with information available at https://www.new-adventures.net/the-car-man#overview
Reviewer: Natalia Prucnal
Reviewed: 21st July 2026
North West End UK Rating: