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.

Metaphorical references to cruelty and cannibalism, all produce a foreboding mood that has to be sustained by the acting and the singing. Even the fact that the hero is actually a scoundrel who has to die before he can attempt any form of redemption, is a far cry from the conventions of American musical theatre and indicates that this is a demanding show at all levels.

Unfortunately, Orpheus has missed the boat with this one. There are some good moments, and even some strong performers but overall, we have the impression that the production team and, especially the director, were out of their league. The company lacked the quality of dancers that is so important, especially in the final scene where all the evil spirits come bounding out in a devilish collective number that is supposed to be slick and sexy and but that appears to be sloppy and awkward. The choreography in general was not well thought out, and badly executed, in spite of the presence of that fine actor, dancer and singer Dave Rowan whose stellar stage presence as the criminal influence Jigger, lit up the show and kept our gaze on his beautiful moves and beaming energy.

Also attractive was Kodi Cannon as the prim Mr. Enoch Snow Jr. who courts Carrie, and is ultimately wounded by Carrie’s failure to live up to his moral standards. His performance was full of life and his lanky physique created moments of comedy that added much to his segments of the show. The choreography that has him tripping across the stage followed by his 8 well behaved children with their little noses in the air was well executed  and created the perfect antithesis of the devlish Jigger, the evil Billy Bigelow and those “fallen” women who make their timely appearances at the clam bake.

Nevertheless, Billy who can’t behave himself, who seduces women and strikes out when he gets angry, but who tries to settle down when he finds out his wife is pregnant, is a man doomed to failure and tragedy and thus a most interesting character. Torn within , he is supposed to dominate the show, but he never makes it. As played by Brennan Richardson, Billy B. has a pleasant voice but Richardson makes him too much of a sweet kid with no cajones! The meeting with Julie produces no sparks. There is no physical attraction between them. The very essence of his character is eliminated and Billy has almost no stage presence . Such a shame.

Laura Burk as Cousin Nettie was not the best voice for that solo and in fact the lack of good voices with dramatic intensity was one of the main problems. Susanna Atkinson (as Carrie) and Bianca Pietracupa (as Julie the suffering wife) have good voices for musical theatre but they did not produce the deeply dramatic and even near operatic qualities that were needed for these beautiful numbers, given the complexity of the music and the depth of the emotional conflict. In fact, Carousel has some exquisitely beautiful songs that were great hits way back when and the memory of that music remains. At the end, as Billy sang if I loved you, tears came to my eyes, but they were not due to Billy’s singing nor to the orchestra because the musical direction sometimes had the orchestra producing uncomfortable sounds that suggested a lack of rehearsal. The emotion came from the very feel of the music, and from the lyrics that grab you so strongly, especially in the final act. Of course, the story is schmaltzy and melodramatic but then all good operas are essentially schmaltzy melodramas. What makes the difference is the quality of music, and the way the music is performed, as well as the general staging. In this case, the performances and the direction did not make it work.

Choreographers Nancy Blais and Sierra Slegtenhorst seemed to be hampered by a lack of talented dancers to the point where the musical numbers were lumbering and almost embarrassing. Jasmine Lee was given the beautiful dance solo alone with Billy at the end and  although she was perfectly competent, the fact she was alone on stage for such a long time, the number could only be sustained by an outstanding dancer with enormous charisma and she was not yet in that category.

Jenn Donnelly’s set was adequate, functional, and adapted well to the change in atmosphere when Billy moves on to the “other” world. 

Generally, one had the sense that the stage direction was off track. Having people moving props about up stage as Julie was singing one of her most beautiful songs was almost an insult to the singer and suggested the most basic disregard for rules of staging. Lighting was not used as it might have been to highlight certain moments and camouflage others. It was sadly obvious that they were definitely in over their head and should never have chosen Carousel in the first place.

This is all the more disappointing because we know that Orpheus is capable of great work. Their production of Mel Brooks’ The Producers was brilliant; their Chorus Line several years ago was a masterpiece. Rent was excellent, and others have also been very good. Making excuses for this company (only unpaid amatures,) given the history of their past successes, would only be condescending, since we know they are capable of much better work. Unfortunately, Carousel was beyond them. That’s about all one can say.

The show continues at Centrepointe Theatre until June 9 Performances are at 7h30. Call Centretpointe for tickets at 613-580-2700