Pre warnings of adult scenes of a sexual nature, depictions of violence and brief frontal male nudity left me in doubt that Matthew Bourne’s The Car Man is designed to provoke.

Sparks fly from the outset - and not just from the welding in the mid-west greasy garage-diner, where mechanics with rippling muscles delight in bullying their sensitive co-worker, Angelo.

Redolent of a film noir, central to the theme is Lana the bored, sexually charged wife of the overweight, brutish, garage owner, Dino. Struggling with the heat, he constantly burps, swats flies, and bickers with his wife.

Posing suggestively below a ‘Man Wanted’ sign, Lana's intentions are clear as temperatures - and tensions - accelerate when swarthy, bisexual drifter Luca fills the vacancy.

A figurative car crash waiting to happen, the setting in a town called Harmony in the 1960s is loaded with biting irony.

From then on, the plot, loosely based on its namesake and the erotic film, , spirals out of control.

Luca’s laviscious nature and seduction of Lana and Angelo create a love triangle where both are infatuated with his animal magnetism.

The pace is relentless as the pre-interval climax culminates in Dino being murdered by Luca and Lana as the innocent Angelo is blamed and arrive at the blood-smeared, horror scene.

The experience is akin to watching a film or a theatre drama due to Bourne's ingenuity in swapping traditional ballet conventions with cinematic storytelling.

Played out to an expanded version of courtesy of Orchestrator, Terry Davies, the pace, discipline, and precision of the octane-fuelled production are faultless.

Even the rippling castanet rolls, redolent of Bizet’s original, enrich the contemporary style.

Cast of The Car Man Photo by Johan Persson

Compellingly choreographed, the acting and mime elements reflect the innovation of a critically acclaimed production which entraps, enthrals and exhausts.

The catalyst for Harmony’s demise, who oozes sexuality from every pore, Will Bozier is compelling as the predator Luca.

The seduction of Lana and Angelo is hypnotic, and his banter with the macho mechanics while striding two moving cars is sublime – as is his guilt-ridden, alcoholic descent into hell.

Ashley Shaw is magnificent as the multi-dimensional Lana which is stifled by the heat and oppression of the one-horse town and bullying husband.

A physical force, Adam Gilbraith delivers a polished performance as Dino. His breadth and depth of talent are reflected in a macabre death dance with Bozier.

The transition of the gentle Leonardo into a murder and rape victim is sensationally portrayed by Leonardo McCorkindale – a tragic victim in an environment where kindness is in short supply.

Cast of The Car Man Photo by Johan Persson

The interpretation of the multi-faceted themes of passion, murder, lust, infidelity, fate and guilt through physical movement is beyond brilliant and enhanced by the sets of Lez Brotherston, lighting designer Chris Davey, and sound designer Paul Groothius.

I smelt the pungent welding fumes, squirmed at the grease and dust, did a double take at the consenting sexual scenes - and felt the searing humidity, the darkness - and the danger.

If you only see one production this year, make it The Car Man.

The Car Man, produced by Matthew Bourne of New Adventures, plays Newcastle Theatre Royal until Saturday, September 12. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.

For details of the UK tour with venues including The Alhambra, Bradford, visit Matthew Bourne’s The Car Man | 2026 Tour Dates & Tickets

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