Carousel. Orpheus production of this musical theatre classic misses the boat.
Photo of Agnes de Mille (1940) who choreographed the original production of Carousel.
Such an unlikely subject for an American musical; in Carousel, Ferenc Molnar’s tough guy character Liliom from the Hungarian carnival becomes a seductive but violent carnie working around a fair on the New England coast, first presesnted on the American stage in 1945. Drawn to crime, attracting ladies, especially his jealous, voluptuous boss with the flaming red hair Mrs. Mullin, (sung by the excellently swaggering Barb Seabright), he exploits them all and then finally seeks redemption for his cruelty towards Julie who sacrifices everything for him to become his wife. Richard Rogers (Music) and Oscar Hammerstein II (book and lyrics) have chosen a dramatic subject of unusual depth for musical theatre but given its passage from drama to tragedy, to pathos and to comedy, it offers rich stage material for the creators, providing the cast can handle the show.
The complex score is often close to light opera with the beautiful solos and the stirring music that reflects powerful emotions expressed by the haunting melodies. The presence of evil haunts the show, as lyrical moments slide into minor keys. Then there are the lyrics about eating clams and tearing the lobsters apart as the chorus gets ready for the huge clam bake.
