Synopsis The tale of the inhabitants of a New England fishing town. Romantic couple, comedy pair, wise old woman and a villain make up the main characters. Songs include You'll Never Walk Alone, June is Busting Out all Over and If I Loved You. Based on the play Liliom by Ferenc Molnar as adapted by Benjamin F Glaser.
Perhaps it’s appropriate that as the football World Cup kicks off, Chichester Festival Theatre chooses to revive Carousel, the musical containing “You'll Never Walk Alone”, the ultimate football anthem.
This is a piece of musical theatre that divides opinion: there are those who think of it as an appalling piece of musical fluff, with an old-fashioned attitude to women and domestic violence. On the other hand, there are those who think that is one of Rodgers and Hammerstein’s masterpieces; a powerful and compelling piece of musical theatre.
Personally, I sit halfway between the two: I find it one of the least appealing examples of their works, with a plot that is ludicrous, even by the standards of a genre used to straining credulity. But I recognise there some numbers of the highest class – notably Bill’s soliloquy at the end of Act 1.
Angus Jackson's production doesn’t start promisingly: the opening overture and ballet sequence seem to drag on interminably and once the dialogue starts the mikes appear to be on such a volume that it sounds like the actors are auditioning to be platform announcers at Clapham Junction.
Norman Bowman as Bill also seems to start slowly although he warms to the part, reaching a peak during the soliloquy number. But for a character whose sexual magnetism is commented on several times, he doesn’t exude any of the charismatic swagger that we'd expect to see. But Harriet Shore's Julie Jordan is even less appealing: there’s little sign of the sassy young woman that intrigues him and her singing voice is by far the weakest of the principals.
The honours (both acting and singing) are stolen by Lydia Griffiths, who’s a captivating Carrie Pipperidge: She’s well supported by Robert Irons as Enoch Snow, her husband with the grand ideas. Jacqui Dubois’ Nettie also offers strong vocal support and there's some good ensemble work but this is not a production that ever really catches fire.
Carousel looks rather dated these days: there's no doubting the quality of the score and the lyrics but it would take an exceptional company to bring them to life. There are some qualities in this production but a good musical should make you feel like singing and dancing on the way home; this palpably didn't. It was professional, pleasant but ultimately unadventurous.
Carousel has long been my favourite musical. To my mind there has never been a more perfect blend of the theatrical elements - book, music, lyrics and dance and with Carousel the show's creators each produced their career best work resulting in what I believe to be the best ever musical.
If one element has to be singled out for particular praise, it is of course, Richard Rodgers' music. Over a career of almost 60 years he composed more glorious songs than anyone but with this score he created his masterpiece - it is simply divine.
As for this particular production, it is in my opinion very, very good. I saw the National's superb 1992 production four times and inevitably it is that one that I shall continue to remember forever. However that is not to take anything away from this production. All the cast are very good, particularly Lydia Griffiths as Carrie. What a pity she is not in hunt for the role of Maria in "The Sound of Music." Equally good are the ensemble all of whom look and sound terrific.
My only quibbles are with the choreography which I thought was really poor and with the orchestra which is just too small for this most musical of scores. The original pit orcheatra had an unheard of 38 musicians and this score needs that many to do it full justice.
Those quibbles aside, I would not hesitate to recommend this production to everyone who loves musical theatre. - 81.179.53.7)
14 Aug 06
Not my favourite musical, but I went to the first night with an open mind and the expectation that the CFT company would pull out all the stops as usual. However, I have to agree with Maxwell Cooter. The overture was far too long - obviously the carousel cost a lot to make so they wanted their money's worth. Strangely it didn't appear again, although there were several points when I expected it! The interminable modern ballet sequence sat awkwardly in what is essentially a 50s piece and was staged here as such. Harriet Shore was insipid as Julie - I found myself not really caring about her troubles. She contrasted poorly with Lydia Griffiths, who shone as Carrie. I wasn't impressed either with Norman Bowman as Billy. He seemed embarassed by the requirement to portray a wife beater, and his performance never really came alive. Robert Irons as Snow had the better voice and the better stage presence. Good songs as ever, and the ensemble playing was faultless, but the unpleasant storyline always gets in the way and leaves a nasty taste in the mouth. The other offerings at Chichester are better than this - try Nicholas Nickleby instead (superb!) - 194.75.225.62)
10 Jul 06
As an American in Chichester, I was priveleged to see the first night, and I thought the entire production was brilliante!I thought the direction was right on target, the pace was fast, the singing was glorious, the acting:
superbe!this piece, albeit is old, but always timely..one must take it as it is..a wonderful story..Of course, I'm American, and have been brought up on R&H..and all their works........and have seen this many many times..so, what do I know???This theatre continues to produce wonderful things! - 64.12.116.9)
17 Jun 06
a superbly sung and danced production. a little under directed though- the acting lacked focus at times. - 81.86.106.82)
14 Jun 06
See it - the ballet, the chorus, the emotion are all fabulous! - 217.155.179.213)
See also Minerva Studio. [Each summer a musical beats at the heart of the Festival, surrounded by world premieres as well as brand-new productions of classic dramas and comedies, all of the highest quality. Set in the beautiful surroundings of Oaklands Park, Chichester Festival Theatre is one of the UK's flagship theatres and has an enviable reputation for excellence. Four of Festival 2010?s ten productions went on to have lives beyond Chichester, touring nationally and/or transferring to the West End. Artistic Director: Jonathan Church Executive Director: Alan Finch
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