A dark story of desperate people making terrible decisions is not what most often comes to mind when you imagine a Rodgers and Hammerstein musical. Yet as the new production at the Court Theatre makes clear, that is precisely the story of Carousel, perhaps the team's greatest musical. If anyone doubts that the play has the dramatic heft to make it worthy of inclusion with the classics produced at the Court, Charles Newell's production—compellingly staged and brilliantly acted, though unevenly sung—should put them to rest.
The play follows the tragic love story of Billy Bigelow (Nicholas Belton, more overgrown kid than lothario) and Julie Jordan (an excellent Johanna McKenzie Miller, with far more grit than Julie usually shows), residents of a Maine fishing village. Their relationship is brief and violent, marked by abuse and misunderstanding, and set against the backdrop of a village that seems to offer little opportunity. The play does end in uplift (indeed the final moments sent chills down my spine), but that uplift is hard-won.
The production puts this across beautifully. Newell has built on his superb Titus Andronicus with a staging that brings out the book's frank power and the vibrant reality of the characters. The acting is strong throughout, with even the supporting characters who sometimes get less attention coming across vividly. I was particularly taken with Rob Lindley's portrayal of Mr. Snow. His "Geraniums in the Winder," often seen as a throwaway song, was an unexpected highlight. Music Director Doug Peck has coaxed a wonderful sound from his eight-piece orchestra. The singing is largely strong, though unfortunately the leads have a somewhat thin, poppy sound unsuited for the score.
This is only a minor distraction; the fiercely committed acting pulls the show through its flaws to a profoundly moving close.
Reviewed by Centerstage!
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