Passion, jealousy, and fate took center stage during Carmen, presented by the Orlando Ballet, this Valentine’s Day weekend, starting Thursday, Feb. 12.
Staged in Steinmetz Hall at the Dr. Phillips Center, the production brought emotional depth to the classic tale of love and obsession. Originally created by choreographer Kenneth Tindall for Tulsa Ballet, this adaptation of Carmen stands apart by shifting the narrative lens. Rather than focusing solely on the fiery and free-spirited heroine, the ballet explores the psyche of Don José, offering a layered perspective on the tragic romance.
The opening night’s psychological focus could not be missed. Hitomi Nakamura, born in Japan and now in her twelfth season with Orlando Ballet, embodied Carmen with magnetic authority. Her performance blanched playfulness in one breath with embodied self-assurance in the next. She portrayed a woman in control of her choices, making the stakes of the story feel even more real.
Opposite Nakamura, New York-born Abenanty, in his fifth season with Orlando Ballet, delivered a haunting Don José. The way the production unraveled his performance was like looking through a magnifying glass. Early restraint slowly gave way to desperation, his movements growing sharper and more aggressive as his obsession with Carmen tightened its grip. By the final act, Abenanty’s portrayal was raw and unsettling, making the conclusion even more impactful.
The duets between the two were both tender and combative. Their lifts felt charged with emotion, and moments of stillness were just as powerful as the chaotic sequences. The ensemble added urgency, texture, and visual art, which amplified the tension that simmered throughout the performance.
By the end, the audience felt like they were experiencing this tragedy in real time. The final moments delivered a surprising twist, centering on José’s psychological collapse and the effects that it had on Carmen.
The Man Behind the Art
For Artistic Director Jorden Morris, bringing Carmen to Orlando seemed to be part of a larger artistic philosophy.
“I am not the creative director of this production, but rather the curator of the repertoire that goes into an Orlando Ballet season,” said Morris. “We cannot perform my ballets all the time, so part of my job is bringing in other people – other choreographers – to share their artistry with the dancers and our audience.”
Born in Canada, Morris began ballet training at nine years old and became a principal dancer with Canada’s Royal Winnipeg Ballet before transitioning into choreography and leadership. Over his twenty-year career as a choreographer, he has created four full-length works, including Peter Pan, Moulin Rouge – The Ballet, The Great Gatsby, Nutcracker, and 25 shorter pieces.
After joining Orlando Ballet in 2020 as Artist in Residence, Morris was named Artistic Director and has since continued expanding the company’s repertoire and reach. His relationship with choreographer Kenneth Tindall began when Orlando Ballet staged Casanova in 2024.
“Kenny and I developed a great relationship during Casanova, and I knew that I wanted more of his work in the repertoire,” said Morris.
What drew Morris specifically to Carmen was its narrative approach.
“What is special about this production is that Kenny takes a very different approach to the storytelling of Carmen,” Morris explained. “While many productions center around Carmen, this production also highlights the emotional journey of José. We see aspects of the story from his perspective, not always Carmen’s. This adds a really rich layer to the storytelling and dance.”
That richness was evident on stage opening night, where the emotional complexity felt as important as the choreography itself.
“I have learned that Orlando Ballet is a very special place, and I’m honored to be the Artistic Director of this organization,” Morris said. “We have a great board of directors, an excellent production and stage management team, beautiful dancers, and a committed administrative staff that supports all we do on stage. I have learned that the Orlando arts community is vibrant and supportive – it is a true joy to share our love of dance with this beautiful community.”
Morris hoped audiences would leave feeling personally connected to the drama that happened on stage.
“I hope they leave with a feeling of being on a journey with these characters,” Morris said. “Perhaps there are some similarities in their lives that echo the events on stage. I hope they feel a sense of love and passion, as well as conflicting emotions and relationships most people have experienced at some point in our lives.”
Opening night was an indication of just that. With a strong cast, a psychologically layered interpretation, and a clear artistic vision behind it, Orlando Ballet’s Carmen proved both powerful and profoundly human. It was a reminder that storytelling through dance can leave an audience shaken, stirred, and thinking after the curtain falls.
As the 2025–26 season continues, Orlando Ballet is preparing two major productions to close out the year at the Dr. Phillips Center.
From March 27–29, the company will present Balanchine, Godden, Gill, a mixed repertoire evening featuring works by George Balanchine, Mark Godden, and Heath Gill. Then, from April 30–May 3, audiences can experience Morris’s own full-length ballet, The Great Gatsby, inspired by F. Scott Fitzgerald’s novel and set against the glamour and tragedy of the Jazz Age.
For more information or tickets, visit HERE.