Version 1

Carmen Jones (1943-12-Broadway Theatre-London)

Type de série: Original
Théâtre: Broadway Theatre (Broadway - Etats-Unis)
Durée :
Nombre :
Première Preview : jeudi 02 décembre 1943
Première : jeudi 02 décembre 1943
Dernière : Inconnu
Mise en scène : Charles Friedman •
Chorégraphie : Eugene Loring •
Avec : Cindy Lou (Carlotta Franzell), Cindy Lou (Elton J. Warren), Sergeant Brown (Jack Carr), Joe (Luther Saxon), Joe (Napoleon Reed), Carmen (Muriel Smith), Carmen (Muriel Rahn), Drummer (Cosy Cole), Myrt (Jessica Russell), Rum (Edward Lee Tyler)
Commentaires :
The budget was $175,000 with a weekly operating cost of approximately $14,000.

Originally, Max Gordon was to produce.
Rehearsals were originally to begin in September 1942. But when work on Oklahoma! took up more of writer Oscar Hammerstein II's time, the production was postponed. Because of the postponement, Max Gordon dropped out as producer. Not long after, Billy Rose came on as producer (Al Jolson was also trying to acquire the show).
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Version 2

Carmen Jones (1954-??-Film)

Type de série: Film
Théâtre: *** Film (*** - ***)
Durée :
Nombre :
Première Preview : Inconnu
Première : Inconnu
Dernière : Inconnu
Mise en scène : Otto Preminger •
Chorégraphie :
Avec : Harry Belafonte (Joe), Dorothy Dandridge (Carmen Jones), Pearl Bailey (Frankie), Olga James (Cindy Lou), Joe Adams (Husky Miller), Brock Peters (Sergeant Brown (as Broc Peters)), Roy Glenn (Rum Daniels), Nick Stewart (Dink Franklin), Diahann Carroll (Myrt)
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Version 3

Carmen Jones (1991-04-Old Vic-London)

Type de série: Revival
Théâtre: Old Vic (Londres - Angleterre)
Durée : 1 semaine
Nombre : 730 représentations
Première Preview : lundi 08 avril 1991
Première : lundi 08 avril 1991
Dernière : lundi 15 avril 1991
Mise en scène : Simon Callow •
Chorégraphie : Stuart Hopps •
Avec : Wilhelmina Fernandez/Sharon Benson (Carmen), Damon Evans/Michael Austin (Joe), Gregg Baker (Husky Miller), Karen Parks (Cindy-Lou), Clive Rowe, Llewellyn Rayappen
Commentaires :
Using all the music from the opera “Carmen”, Oscar Hammerstein II provided completely new lyrics and a new setting. All the characters are Negro workers in a southern parachute factory during World War II. It is the story of Joe, an army corporal, and his love for the temptress, Carmen Jones, which ends with him stabbing her to death after she leaves him for the boxer, Husky Miller. The show was first produced on Broadway in December 1943 where it ran for 502 performances. This was its British premiere and it received something of a mixed reaction from the critics - mainly feeling the production and staging were a bit unadventurous, although the music and lyrics were much appreciated. However, it ran for one year and nine months and won several awards. During the course of its run the part of Joe was taken over by Gary Wilmot.
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Version 4

Carmen Jones (2007-07-Royal Festival Hall-London)

Type de série: Revival
Théâtre: Royal Festival Hall (Londres - Angleterre)
Durée : 1 mois
Nombre :
Première Preview : mardi 31 juillet 2007
Première : mardi 31 juillet 2007
Dernière : dimanche 02 septembre 2007
Mise en scène : Jude Kelly •
Chorégraphie : Tom Snow •
Avec : Tsakane Valentine Maswanganyi (Carmen Jones), Andrew Clarke (Joe), Sherry Boone (Cindy Lou), Rodney Clarke (Husky Miller), Andee-Louise Hypolite (Frankie) , Phillip Browne (Rum), Akiya Henry (Myrt), John Moabi (Dink), Brenda Edwards (Pearl) , Rolan Bell (Morrel), Joe Speare (Sargeant Brown), Joanna Francis (Mrs Higgins), George Daniel Long (Mr Higgins), Josie Benson, Stuart Bowden, Peter Brathwaite, Jina Burrows, Angela Caesar, Ian Carlyle, Darren Charles, Laurence De Maeyer, Leroy Dias Dos Santos, Ramon Diaz Crosdale, Herve Goffings, Celia Grannum, Yolanda Grant-Thompson, Divine Harrison, Welly Locoh Donou, Tania Mathurin, Terel Nugent, Kelechi Sarah Nwanokwu, Ngo Omene-Ngofa, Joanna Riseboro, Tarisha Rommick, AleSandra Seutin, Nadine Smith, Antontio Tengroth, Jordene Thomas, Kenny Thompson.
Commentaires :
By placing the London Philharmonic Orchestra in a pit in the middle of the stage, this production obliged the performers to confine the action to a narrow perimeter, restricting the dramatic momentum and creating a musical-concert hybrid – neither a purely concert-version, nor a staged production. However, the quality of the performers more than compensated, and the overall critical verdict was favourable.
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