Carousel Musical at Milton Keynes Theatre Review
Rodgers & Hammerstein Production Played in Buckinghamshire UK
Nov 3, 2008
Carousel, Richard Rodgers and Oscar Hammerstein II’s second great collaboration of all time, opened on Broadway in 1945 and ran for 890 performances, spawning a steady stream of fans who fell to the spell of star-crossed lovers Julie Jordan and Billy Bigelow. Now Carousel plays in Milton Keynes Theatre, Buckinghamshire in the United Kingdom - a week’s run (13 to 18 Oct 2008) which boasted a full house turnout.
Carousel in the 21st century, as interpreted by director Lindsay Posner, is a cosmic vision: a vision of planetary movements and stars, rhythmic pull of moon and sea, of breaking waves and lonely islands. All these are set to cinemascopic screen sets portraying night sky and infinite galaxy. When Rodgers’ music hits crescendo, the visual images heighten the drama emphatically. These images are reminiscent of the Dogme 95 film Breaking Waves, a art film interspersed with poetic images with meaning.
It is just like this interpretation of Carousel. Carrie and Julie, the Bascombe Mill working girls, convene excitedly under an Edenic tree (set designed by William Dudley), singing of love, when Billy Bigelow turns up. There are uneven and awkward American accents at the beginning of the performance from the cast, but these soon even out. Lauren Hood plays Carrie Pipperidge with clarity and sparkle, and nearly flawless comic energy. Diana Kent as carousel owner Mrs. Mullin plays the hard edge smoothly, and her tired glamour helps show off Billy Bigelow’s randy youthfulness. Jeremiah James as Billy Bigelow is a pretty perfect match, as James is tall, slovenly and dark-haired, like a young Elvis Presley. His voice rings with confidence, even in his New York accent.
But nothing can prepare for the surprise that is Julie Jordan, played to heartbreaking perfection by Alexandra Silber. It is a strange thing, as Alexandra’s American accent is not perfect, nor is she a veteran at acting. But she has a womanliness that belies her youth, colours her voice and gives her singing a grown-up quality. When she finishes belting “If I Loved You”, a hushed silence descends on the theatre that is certainly admiration. This girl can emote, and she emotes beautifully and grandly.
Kudos also go to Enoch Snow, played by Alan Vicary and Nettie, who is played by an astounding Lesley Garrett, but is replaced by Kathryn Akin for a night (Wednesday 15 Oct). Alan Vicary’s performances are very spot-on, and Kathryn Akin makes Nettie an endearing yet foxy character! Mr. Snow and Miss Pepperidge are well cast, even if they are played by performers with a startling age difference. Vicary’s Mr. Snow is a deep and well thought out performance, resonating so easily with the audience that it is almost a relief to watch. Lauren Hood’s Carrie is a role that can develop, but for a young performer it is delightful fare.
Anyone watching Carousel realises quickly that all the songs and dances are inspired, with song after song melting like butter into melodrama, then blooming into exuberance again. From “If I Loved You” to “June is Bustin’ Out All Over” and then “You’ll Never Walk Alone”, Carousel, like its name implies, carries you on the highs and lows of true love. Every time Julie appears, she is supported by the dark tones of "If I Loved You", making this quite a tearjerker.
True to a Rodgers and Hammerstein musical, the dances are choreographed beautifully, thanks to Adam Cooper. The ensemble switches seamlessly from ballet to tap dancing led by whaler Jigger Craigin (played by Graham MacDuff). The magic of Rodgers and Hammerstein comes alive again, bringing back the good old 1940s, when love’s pain is conveyed through melodrama.
Carousel at Milton Keynes Theatre does a good job mesmerising the audience with a heartfelt performance, flawless dancing and singing from a superb cast, and its modern interpretation. Keep a look out for Alexandra Silber, the diamond in the rough who shows great promise as a musical leading lady.
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