Carousel - A Concert
Voted by Time Magazine as the best musical of the 20th century, Carousel's combination of a compelling storyline, well-crafted characters, and an unforgettable score solidifies its status as a landmark work in American theatre history. Richard Rodgers and Oscar Hammerstein II wrote eleven musicals together including the highly successful Oklahoma!, The King and I and The Sound of Music. Strangely though, Carousel has never fully received the recognition it merits, possibly because its provocative themes (including domestic violence) may lead to discomfort among audiences. As a result, producers might be cautious about funding a show that could struggle to draw large crowds or yield substantial profits when compared to other more popular musicals of R&H. Presenting a short season of Carousel - A Concert is a wise choice made by producer Enda Markey giving audiences a chance to experience this remarkable musical that hasn't been seen by Melbourne audiences for 20 years.
Director Petra Kalive, who serves as the Associate Director of the Melbourne Theatre Company, presents an intimate production featuring some of Australia’s most esteemed leading theatre performers, augmented by a dynamic ensemble, ballet dancers, and an on-stage orchestra. The simple staging consists of the orchestra and stage microphones. Gavan Swift's lighting design employs the use of a configuration of ever-changing coloured lights (resembling the shape of a carousel ride) to transform the mood of each scene. Tom Brickhill’s sound design highlighted the orchestra’s richness, ensuring that the lyrics and dialogue remained clear above the expansive score. Costume design by Casey Harper-Wood features clothes that traverse multiple time periods for the leads, and contemporary styles for the ensemble, rendering Carousel's core themes relevant for different generations. Overall the streamlined setting (without scene or set changes) creates a focused atmosphere where listeners can fully appreciate the nuances of the music and the depth of the storyline without external interruptions.
With over four decades of expertise, Musical Director Guy Simpson draws out the finest performances from an ensemble comprising 22 musicians, allowing this ambitious and intricate composition to achieve remarkable levels of excellence and significantly enhancing the audience’s experience. What an incredibly lush sound! I smiled to myself when I heard a patron behind me say "how will they get the orchestra off the stage in time for the show to start?" The choreography crafted by Philip Connaughton was elegantly simple, effectively complementing the concert-like nature of the performance. The twelve-minute ballet ‘Billy Makes a Journey’, executed with precision by Jasmin Durham (as Louise) and Ben Obst (as the carousel barker), was strikingly beautiful, ethereal, and profoundly emotional. The segment powerfully represented Louise’s journey from childhood into adolescence, marked by feelings of confusion and sorrow stemming from her father's absence. The dancers, choreographer, and orchestra collectively garnered a thunderous round of applause, undoubtedly marking one of the most memorable highlights of the entire evening.
Anna O'Byrne (Love Never Dies, My Fair Lady, The Mousetrap) plays Julie Jordan, a gentle and innocent young woman characterized by her complexity and introspection, who often finds herself lost in daydreams while yearning for deeper emotional connections. O’Byrne’s depiction is authentic, true-to-life, credible, and not excessively theatrical. Her performance of 'If I Loved You' was deeply emotional and helped us connect with her character whilst the hauntingly melancholy 'What’s The Use of Wond’rin' (with its nod to Kern & Hammerstein's Show Boat) gave us a glimmer of hope amongst Julie's sadness. Marina Prior is Australia's Leading Lady of Musical Theatre with over 40 years in the business. Whether it be a comedic or dramatic part, Prior 100% inhabits any role she is given. As Nettie Fowler, Julie’s older cousin, mentor and confidante Prior embodies a joyful, nurturing maternal figure and pillar for all those that know her. Her flair for musical comedy is evident during her performances of 'June Is Bustin’ Out All Over' and 'A Real Nice Clambake.' Prior's heartfelt and uplifting rendition of the internationally iconic anthem 'You’ll Never Walk Alone' (with its themes of hope and perseverance) was a crowd pleaser and highlighted what a beloved figure in the industry she is. Winner of many prestigious UK awards, Danny Whitehead (Les Misérables, Oklahoma!, Blood Brothers) is a newcomer to the Aussie theatre scene. His charismatic portrayal of troubled carousel barker Billy Bigelow comes with a rugged masculinity that is both appealing and flawed. Whitehead’s exceptional tenor voice and remarkable narrative skills were prominently displayed in his performances of ‘If I Loved You’, ‘Soliloquy’ and 'The Highest Judge Of All', offering a nuanced interpretation and deep examination of the intricate nature of Billy Bigelow’s character.
Helpmann Award winner, Kerrie Anne Greenland (Everything's Coming Up Sondheim, Miss Saigon, Les Misérables) with her playful and whimsical nature was nothing short of perfection as Carrie Pipperidge. Demanding a versatile soprano who can balance technical skill with authentic emotional expression, Greenland paints an ideal picture of her character’s hopes and dreams in the arms of her sweetheart during her standout number ‘Mister Snow’. Blake Bowden (Phantom of the Opera, Fiddler On The Roof, Blood Brothers) is well cast as the simple minded but warm hearted Enoch Snow (Carrie's beau). Bowden's strong musicality, and his ability to convey both comedic charm and heartfelt emotion through song were highlighted in 'When The Children Are Asleep' and 'Geraniums In The Winder'. The chemistry between Bowden and Greenland was vibrant and engaging. Andy Conaghan (Shane Warne The Musical, Guys and Dolls, Titanic) is Jigger Craigin, Bigelow’s hot-headed ‘friend’ who ultimately leads Billy to his downfall. Conaghan's rich vocals added exuberance to the chorus numbers 'Blow High, Blow Low' and 'Stonecutters Cut It On Stone'
With over 50 years of performance experience, Tony Llewellyn-Jones (North By Northwest, Yes, Prime Minister, Picnic At Hanging Rock) typically portrays characters that reflect qualities such as patience, insight, and emotional intelligence. These natural traits, enhanced by his extensive career make him the perfect choice for The Narrator, The Starkeeper and the beloved town physician Dr Seldon. His commanding presence on stage brings additional complexity, enhanced by his maturity. Paula Arundell (Death Of A Salesman, Antony and Cleopatra, The Tempest) plays Mrs Mullin, the jealous and manipulating proprietress of Mullin's Carousel. Arundell portrays the envious and cunning character with authenticity and the expertise gained from her extensive experience in serious drama.
The 16 strong ensemble (including ballet duo Jasmin Durham and Ben Obst) are all stars in their own rights. Each artist showcased their distinct charisma and wardrobe, enabling the audience to appreciate their individual talents. The chorus numbers including 'June Is Bustin' Out All Over', 'A Real Nice Clambake', 'Stonecutters Cut It On Stone' and 'Blow High, Blow Low' were rousing and full of joy. The gentle chorus during 'What's The Use of Wond'rin' was achingly beautiful and the power of the full company during the 'You'll Never Walk Alone' finale of Act Two brought both goosebumps and many joyful tears. The only drawback of this production was its limited run of just a few performances. Hopefully, Melbourne audiences will soon have the opportunity to experience a complete production of the show in all its full glory.
Congratulations to all the cast, orchestra and creative team on a well deserved standing ovation that went on-and-on, just like the dizzying spins of a carousel.
Jonathan Cox
Photos: Jeff Busby
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