This classic Rodgers and Hammerstein show has most of the elements you come to expect of the duo. There’s the pair of against-the-odds lovers, the comedy relief characters, a baddie or two, and a wise middle-aged woman dispensing advice in the form of an uplifting ballad.
Staged at the Savoy, this current offering of Carousel wields the star power of Leslie Garrett, and I went in with high hopes. Clearly the credit crunch has hit theatreland. Instead of an actual carousel, which is typically revealed in time with the soaring fairground overture, we get a semi-transparent projection of a digitized carousel with the actors miming the movements behind it. It just doesn’t deliver the punch you’re hoping for.
These digital ’effects’ continue throughout the show delivering lackluster results. Where the transition from the island clam-bake to the mainland docks is fairly smooth, the “stairway” to the pearly gates of heaven resembles a 1980s music video. Fortunately, the remaining sets are minimal and stark, allowing the audience to focus completely on the actors.
Garrett takes the secondary lead role of Nettie, cousin and counselor to Alexandra Silber’s Julie Jordan. With her dark looks and soulful voice, Silber is an unconventional choice for the role, but allows the feisty and wounded Julie to be freed from the typical ingénue stereotypes. Lauren Hood and Alan Vicary provide light comic relief as Carrie and Enoch Snow, while Diana Kent offers up a strong yet vulnerable Mrs. Mullin and Graham MacDuff swaggers about the stage with ease as the delightfully panto-esque Jigger Craigin.
Garrett delivers exactly what you would expect; what she lacks in characterisation, she makes up for with those fantastic vocal chords, easily delivering the best song of the night, “You’ll Never Walk Alone”. The standouts in this show are the father and daughter characters of Billy and Louise. Although she doesn’t appear until the second act, Lindsey Wise’s Louise is so full of vigor and passion, she steals the stage, easily seducing the audience in a brilliant ballet sequence. Jeremiah James is a wonderful Billy; outwardly confident, but full of turmoil, his strong baritone a perfect match to a powerful physical presence. Lindsay Posner’s uncomplicated direction allows Adam Cooper’s period-appropriate choreography to shine, and is complimented by David Firman’s unfussy musical direction.
Though not a stunning production, the actors do their best and deliver an entertaining evening. If you’re looking for a big stage spectacular à la Wicked or The Sound of Music, you’ll be disappointed, but if you like your Rodgers and Hammerstein understated and a little dark, then this show will certainly appeal.
