Carousel

Carousel
By Rodgers and Hammerstein. Miranda Musical Society. Sutherland Entertainment Centre. March 25 – 29, 2015.

Once an absolute staple of the community theatre repertoire, Carousel seems to have dropped below the radar of late. With far from perfect romantic relationships at its core, ambivalence toward domestic violence, and some old-fashioned conventions, it’s not for all contemporary tastes.

But you need to balance that with the chance to hear probably the greatest of the classic genre-changing Rodgers and Hammerstein scores, played by a full orchestra, and performed by a talented young principal cast and ensemble. It’s certainly worth a trip to Sutherland.

It’s a treat for lovers of the classic repertoire, while for younger musical theatre fans it’s a rare chance to see where current musical theatre had its roots (much of act one is virtually through-sung, in a musical decades before that semi-operatic style became popular).

Director James Worner has crafted a clean, respectful production of this classic, which trusts the material. But it’s a vibrant, lively production - no museum piece.

Anti-hero leading man Billy Bigelow is a huge sing, and Michael Johnson carries it off impressively with a warm, rich baritone. Chemistry may be one of the most overused words in the reviewing vocab, but there’s plenty of it in the between Michael and Louise Jaques (Julie Jordan), providing the high stakes and volatility which Carousel needs to work. Louise has a fine soprano voice, and captures the strength, vulnerability and personal tragedy of the role.

While the role of Carrie Pipperidge is often played as an out-and out musical comedienne, lively, vivacious Daisy Cousens is that and more, finding some very genuine warmth and humanity, and displaying great musical theatre vocal chops. She establishes a sometimes warm, sometimes flirtatious, sometimes prickly rapport with Rory Chatterton’s, Enoch Snow, an assured portrayal.

Kerrie Hartin finds all the nurturing spirit, salt-of-the-earth commonsense and heart of Nettie Fowler, nailing the three Broadway classics which fall to her with her rich familiar musical theatre tones. Villain Jigger Craigin is a bit of a throwback to stereotypical villains as written, and James Jonathon delivers the role with a good mix of comedy, melodrama and rich bass baritone.

The various supporting roles are handled well, with Paul Miller’s Starkeeper of particular note.

As Billy and Julie’s teenage daughter Louise, Louise Moseley delights at the heart of the act 2 ballet, which sustains attention and interest despite its length, thanks to a combination of grace, comedy and sauciness. Jo Ansell’s choreography has a strong sense of narrative, and is well-pitched, when necessary, to non-dancers. The pantomime opening sequence has a similarly strong sense of narrative as it establishes the workplace and carnival worlds of the piece.

Designer Bob Peet team have again come up with a set which is effective, and allows the production to flow smoothly on the challenging Sutherland stage. Only some rather wayward follow spot operation marred the production. Hopefully the operators will gain precision as the season continues.

Take the opportunity to catch this musical theatre classic.

Neil Litchfield

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Dad and Daisy

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