I think I’ve already established a few benchmarks related to Carousel in this post- it’s my favourite musical ever, I know every line and note of music and I’m very particular about the way that it’s done, but I’m always open to new interpretations providing they make sense. One of the things I find most fascinating about the show is the way that kitchen sink drama can be made extraordinary. I actually feel a bit sorry for the critics who can’t unhinge themselves from the sainted National Theatre production- I know it’s down as the definitive production, but I somehow doubt it would have been for me as it featured a Billy who couldn’t sing- however strong his acting may have been, a top-class Billy needs to be pure vocal sex as well. Anyway, Lindsay Posner has done a splendid job in this beautifully imagined revival of the most glorious of all the great musicals that fixes the piece firmly within its own context rather than trying to ‘modernize’ it- and that does not mean that violence against women was acceptable in a musical set in the 1870s written in the 1940s. The entire point is that it was never acceptable and Julie knows it, but she manages to forgive him for his behaviour.
William Dudley’s design, dominated by large, simple set pieces, are fine, as I don’t think Carousel is a show that needs elaborate scenery to make its point. The projections were a pleasant surprise, after the way they made me feel rather travel sick in The Woman In White; the projected carousel actually heightened the sense of illusion and the dreamworld that Julie finds herself being drawn into before tumbling back to earth. I loved the way that Billy lifted right up at the centre of everything. I also liked the disused waltzer (I have a phobia of those things in real life) that took Billy to heaven, it’s as if he can’t escape his fairground roots wherever he goes. The opening scene, in which the girls sign off from their day at the mill is full of colour and exhuberence, with a seedy underbelly. Adam Cooper’s choreography may not be groundbreaking, but it’s vivavious and beautifully performed. There was a good contrast between the fun and excitement of June and the more sexually aggressive overtones of Blow High, Blow Low. I loved the gorgeous June girls in their brightly coloured frocks. The Bench Scene is beautifully done with the stars that gradually light up and the gentle waves from the beach and I loved the way that Billy scooped up the blossoms and poured them into Julie’s hand. My one gripe was the way that the kiss (the one that we anticipate so greatly) was orchestrated- he kind of grabbed her by the arm in an aggressive way. I like that moment to have a bit more tenderness, to show just how different this kiss is from the ones that Billy usually gets from his women and that this relationship is based on more than just sex.
I’ve got to admit it- Jeremiah James isn’t a Billy who makes me want to fling my petticoat way up high, even though he has a really good stab (no awful pun intended) at the role. It’s bit of a case of so near and yet so far because he almost has it, but he lacks the edge and dramatic bite to be a truly convincing Billy. His singing voice is strong, however, and he hit those money notes in the Soliloquy superbly and I’m thrilled to have The Highest Judge of All reinstated. I know how spoiled I’ve been from experiencing Jeff Nicholson’s mind blowing performance (talk about not being able to unhinge myself!) as he flawlessly portrayed every single side of Billy’s character (the anger, the confusion, the tenderness) in a performance like nothing I’ve ever seen before or since and I would have loved to have seen him play it opposite Alexandra Silber’s Julie.
She’s such an enigma, that Julie Jordan. It’s such a hard role to play because she can’t say what she really feels until it’s too late, and she has to express herself in the murmurs, in the pauses, in the gestures, in the sighs (as Countess Charlotte would say). Alexandra Silber is magical in the role. One of the reasons why I’ve always been drawn to the character is because it makes such a change to see a quiet girl with a core of steel as a heroine. Alexandra’s deeply sensitive, intelligent portrayal is a joy as she’s exactly the kind of Julie I like- sweet, yet strong willed and determined, knows her own mind and would rather be alone than with the wrong person (rather like your authoress). Her mannerisms are exquisite and her rich, powerful voice adds so much depth and passion to her renditions of If I Loved You and What’s The Use of Wond’rin . You believe every word she sings. What’s The Use of Wond’rin’ is done in a particularly chilling way, in which the girls sing it back to her (in every other production I’ve seen, they’ve sung it to Carrie), almost as if they’re mocking her and saying “told you so” for taking this idealistic approach towards love and marriage. She also imbues Julie with a wry sense of humour that sets her apart from her peers and I think also acts as a survival method. I cannot overpraise her performance as my favourite heroine and I hope she gets the rewards she deserves for it.
Lesley Garrett’s music hall Nettie could hardly be more different stylistically. I’m not opposed to a ’sexier,’ less matronly approach on principle (Jacqui Dubois played a lovely, youthful Nettie at Chichester, and the original Nettie, Christine Johnson, was only 29 when she played the role), but the cold and brutal fact is that Garrett is no actress and I find her really rather grating to watch. Her rendition of June is Bustin’ Out All Over is relentlessly hammy and fortunately she sings You’ll Never Walk Alone just to Julie, rather than as a big showstopper. Lauren Hood, making her professional debut as Carrie, is definitely one to watch, with a lovely voice and very funny dippy facial expressions. I loved the way she was genuinely quite shocked at the prospect of a baby a year- not quite what she had in mind in her idyll of married bliss with Mr Snow. In this plum comic role, Alan Vicary is wonderfully nerdy. Graham MacDuff’s Jigger is reminiscent of a New England Bill Sikes (it’s the top hat) and Lindsey Wise is spot-on as Louise. The entire chorus sings and dances beautifully, perhaps the hardest working ensemble in London at present.
I’m not too keen about the way that this production has been marketed around Lesley Garrett’s celebrity status (The opening sentence of her programme biography claims that she’s Britain’s favourite soprano- I’d quite like a citation for that) and she shouldn’t be on the front of the leaflets when she isn’t even the lead. Surely the show itself ought to be the star, especially one as well loved as Carousel. The ticket prices are also astronomical, the cheapest being £31 for the back of the (very high) upper circle, which is frankly ridiculous. It’s tricky for those of us who consider £20 to be extravagant, let alone £32.50 at TKTS. Luckily, my visit in December was thanks to a competition win by my father and for this we got £10 tickets on lastminute.com and were moved to the front of the upper circle which was pretty good value for money, but when ‘concessions’ are £36, it doesn’t feel a discount.
This is a deeply affecting and worthy revival and I’m so glad we have it in the West End. There’s also good news in that the horrible Zorro is closing to make way for A Little Night Music, another exquisite and bittersweet musical. Both Carousel and A Little Night Music are musicals for people who, like me, prefer their chocolate dark.
(This review refers to a performance that took place on February 12th 2009)
