Carousel: The quality of the music does not overcome other issues which spoil this production

Photo. Alan Dean

A single directorial decision can sometimes make or break a show. In the Orpheus Musical Theatre Society’s current production of the 1945 Rodgers and Hammerstein musical Carousel, the show is close to breaking point because one virginal character is required to open her legs in a totally inappropriate sexual invitation at the conclusion of joyfully singing about how much she is looking forward to marrying her beau. And to make matters worse, the offensive movement is repeated when Mr. Snow is reprised, underlining just how out of tone it is with the character and minimizing the contrast between respectable and disreputable working girls.

And surely innocence paired with shady experience is one of the underlying themes of Carousel? Carnival barker Billy Bigelow (soon to be a jobless wife beater) sweeps a romantic mill worker off her feet and into marital misery. Billy sees the error of his ways on learning that he is to be a father and decides to provide for his family by becoming an accomplice in robbery and murder, dying in the attempt and then being given the chance of redemption after a stint in purgatory.

Trying to make such a plotline believable in the 21^st century is challenging enough without demonstrating a lack of understanding of some of the characters. Director J. Taylor Morris assures readers in his program message that “Carousel’s themes are timeless and universal” and that “there is no such thing as an outdated script. There are only outdated interpretations.”

Is he protesting too much? The storyline of Carousel (based on the 1909 drama Liliom by Hungarian playwright Ferenc Molnar) is weak. Even the two love stories are hard to swallow and it is difficult to like or even care about what happens to the main characters.

Fortunately, the score is wonderful and the Orpheus orchestra under Drum Hudson’s baton is particularly strong throughout, as is the singing by all the principals.

Bianca Pietracupa, as Julie, gives an especially lovely interpretation of What’s the Use of Wond’rin’? Kodi Cannon, as a confident Enoch, and Susanna Atkinson, as a perky Carrie, have a lot of fun with When the Children are Asleep.

As Louise, Jasmine Lee delivers a fine dance solo. Some of the other choreography by Nancy Blais and Sierra Slegtenhorst, reflecting the movement of Jenn Donnelly’s excellently designed carousel, is also attractive.

There are numerous visually appealing aspects of the production (to counteract some jarring movements and actions) and there is much comfort in the well-executed musical richness, but the quality of the musical aspects of the show do not totally overcome the issues with the book and some aspects of the style of presentation.

The Carousel continues to turn at Centrepointe Theatre to June 15.

Director	J.T. Morris
Musical Director	Drum Hudson
Choreographers	Nancy Blais and Sierra Slegtenhorst
Set Designer	Jenn Donnelly
Lighting Designer	Rob Puchyr
Sound Designer	John Cybanski
Costume Designers	Susan Cole and Diane Smith

Cast:

Billy Bigelow	Brennan Richardson
Julie Jordan	Bianca Pietracupa
Carrie Pipperidge	Susanna Atkinson
Enoch Snow	Kodi Cannon
Jigger Craigin, Carnival Boy	Dave Rowan
Nettie Fowler	Laura Burk
Mrs. Mullin	Barb Seabright
Mr. Bascombe	Rick Burk
Starkeeper	Christa Cullain
Louise Bigelow	Jasmine Lee
Enoch Snow Jr	Michael Moreau
Dr. Seldon	Tony Adams
Ensemble	Caroline Baldwin, Sean Brennan, Nzinga Brown, Alex Brunjes, Samantha DeBenedet, Danielle Denisko, DeNeige Dojack, Gregory-Yves Fénélon, John Leclaire, Shirley Manh, Sarah Marks, Annie Marland, Adam Moscoe, Andrew Portolesi, Jeremy Sanders, Fabian Santos, Courtney Vezina
Snow Children	Courtney Dinelle-Mayer, Isabella Hearne, Isabella Kondrat, Adam Linton, Alastair MacIntyre, Sarah Olberg, Emily Ray