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 21st 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in his program message that “Carousel’s themes are timeless and universal” and that “there is no such thing as an outdated script. There are only outdated interpretations.”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 |