Carrie

The much maligned musical version of Carrie plays surprisingly better than its spotty performance record has led us to believe. An infamous flop in the UK and New York in 1988, the show based on Stephen King’s Gothic horror novel was heavily revised for a successful Off-Broadway production in 2012. It’s this version of the script and score that Wax Lyrical has chosen to launch their company and the musical’s first Brisbane Season.

Book adaptor Lawrence D. Cohen wrote the screenplay for the classic 1976 movie so he knows his way around this material which comes across as an evening of hysteria and high-camp in a Grand Guignol style complete with the requisite bucket of blood (and there was oddles of it).

A faultless cast, top-heavy with Griffith University Musical Theatre graduates, not only made a meal of the bizarre material but also delivered some sharp performances. As the title character, Sophie Perkins had rage and vulnerability but held a tight reign on excess, likewise, Jacqui Devereux’s religious fanatic mother Margaret, who bristled with fervour and anguish. Georgina Hopson brought a nice depth to the role of Sue, a teenager caught between being part of the “in” girls and being a genuine friend to the troubled Carrie, whilst Tori Bailey’s super bitch Chris pushed the revenge button with delicious malice.

Alex Woodward did what he could with the underwritten nice guy Tommy, as did Stephen Hirst and Chloe-Rose Taylor as a pair of caring and sympathetic teachers. With touches of disco the score can’t disguise its eighties roots, but the most well-known of the songs, “Unsuspecting Hearts” was a vocal standout for Perkins and Taylor. Woodward scored with “Dreamer in Disguise,” as did Devereux coupling with Perkins on “I remember how Those Boys Could Dance.”

Dominic Woodhead’s two keyboards and rhythm section provided classy back-up, Ben Murray’s sound and Jason Glenwright’s lighting cloaked the stage in atmosphere, with Dan Venz’ moves a plus, especially in the Prom scene with an interesting take on a formal dance. Patrick James Howe’s set with rear wall spotlights turning on and off was confusing at first but later became apparent they were meant to convey Carrie’s telekinetic powers.

It’s not a great musical but Zoe Tuffin’s direction had style and made it appear better than it was. New kids on the block Wax Lyrical are to be applauded on the high standard they achieved. Let’s hope their future endeavours do likewise.

Peter Pinne

Photographer: Joel Devereux