Naoline Quinzin is the choreographer on Cape Town Opera’s hit production of Bizet’s Carmen, with an all-star cast directed by Steven Stead, at the Artscape Opera House. She speaks to WeekendSpecial about her experience, and what’s coming up next:
Is this your first time working on an opera? What has that been like for you and how does it differ from working on a musical where you are generally working with triple threats, or from working in film?
A: Choreographing on Carmen has been my first foray into opera and it’s been an exciting experience. Opera works very differently to musical theatre or film because the voice and music is always leading the storytelling, so movement has to support that, in a very specific way.
In musicals, you’re often working with triple threats who are used to moving, acting and dancing extensively whereas in opera the performers are primarily focused on vocal performance, so the choreography has to feel organic and sustainable while still adding energy and storytelling to the production.
Film is also very different because everything is captured in moments and angles, but with opera you’re creating movement for a live audience in a huge theatrical space which changes the scale and intention behind the choreography. We’ve brought in professional dancers for this production so we can keep the energy alive through movement without compromising on the powerful singing. The challenge then was to incorporate the dancers seamlessly without the audience thinking “oh, it’s now the dance section”.
Please tell us more about which scene in Carmen you have specifically choreographed, and what audiences can expect?
A: I’m choreographing a section at the top of Act 2. Without giving too much away, the audiences can expect a lot of energy, passion and movement that helps build the atmosphere of Carmen’s world in a Spanish village. Because it’s such an iconic opera, it’s been exciting to find ways to bring movement into the production that feels authentic to the story while also working within Steven’s overall vision for the piece.
You won a Naledi Theatre Award for your choreography on Spring Awakening, which was directed by Sylvaine Strike, and you have worked with Steven Stead before, most recently on the hit musical The Rocky Horror Show. Tell us about that rapport and what it has been like working with him on this opera?
A: I’ve worked with Steven three times now and I think we’ve developed a really strong creative synergy. There’s a lot of trust and open collaboration in the room which makes the creative process very enjoyable. Also, Steven has such a strong understanding of opera and how to manage a production of this scale, especially with such a large cast (92 people in total are involved overall). He’s very clear in his vision and how he communicates. Additionally, he creates space for collaboration which, as a choreographer, I really appreciate.
How do you think having Steven Stead as director has impacted the overall delivery of Carmen? What would you say he has done to make the production even more exciting?
A: Steven brings a really dynamic approach to storytelling which makes the production feel incredibly alive and engaging. He has a strong understanding of how to balance spectacle with emotional storytelling and I think that’s what makes this production of Carmen so exciting. He also has a great ability to handle the scale of an opera while still focusing on the smaller character moments, which helps make the production feel both intimate and grand at the same time.
What is next for you after Carmen?
A: After Carmen, I’ll be working on a short film and then I’ll be choreographing Into the Woods for LAMTA, directed by Sylvaine Strike and opening at Theatre on the Bay in October. It’s exciting to move between different mediums like theatre, opera and film because each one challenges me creatively in many different ways.
What: Carmen
Where and when: Artscape Opera House on 19, 21, 27 and 29 May 2026 at 7pm | matinees on 23 and 31 May 2026 at 2pm
Tickets: Artscape on 021 421 7695 and Webtickets
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