In the annals of modern musical theater, no composers are more lauded – and more performed – than Oscar Hammerstein and Richard Rodgers. To many theatergoers – including this reviewer – Carousel is the finest of all their compositions...not as ground-breaking as Oklahoma…nor as appealing perhaps as The Sound of Music and South Pacific. But for the diversity of the musical score, and the lyrics that give depth to the characters and the story, my pick is Carousel -- which is now playing at Glimmerglass Music Festival.
Carousel is based upon Liliom, a 1909 play by the most renowned Hungarian playwright, FerencMolnar. It is the story of a Budapest carnival barker who uses his wile and charm to get through life. Years later, Molnar emigrated to the United States, where he was introduced to Rodger and Hammerstein, who wanted to adapt Liliom to the musical stage. Although hesitant at first, Molnar was invited to see a production of Oklahoma, and realized his Liliom would be in good hands.
The Rodgers and Hammerstein setting is a small New England town, where the major industries are fishing for the men and a knitting factory for the women. The central character is Billy Bigelow…again a barker at a carousel. Billy doesn’t ponder right from wrong; his only thoughts are centered on survival as he defines it. That means a steady job and the attention of pretty girls who offer him intimacy without love. But Billy does encounter love and responsibility, and his only response is to lash out with anger and ultimately tragic consequences.
No sugar-coating here. For those whose lives he has trampled, there is a path for redemption, if Billy cares n bring any happiness to those he has wronged.
From early exuberance of the chorus letting us know that “June is Bustin’ Out All Over”…to the intimate, doubt-filled duet, “If I Loved You,” the songs and lyrics define the place, the characters and the situation – while moving the story to an dramatic conclusion, and building to an expression of hope with “You’ll Never Walk Alone.”
This Glimmerglass production is excellent. Especially delightful are the performances the leading women: Andrea Carroll as Julie, Billy’s love interest; SharinApostolou as Carrie, Julie’s best friend; and, in the sensitive role of Nettie, Deborah Nansteel.
The only reservation to my enthusiasm is that I felt the tempo of the music slowed down to accommodate Ryan McKinney in the role of Billy Bigelow. Mr. McKinney has a fine operatic voice, as demonstrated in last season’s Glimmerglass production of Richard Wagner’s Flying Dutchman. But a Rodgers and Hammerstein musical does not include a Wagnerian chorus of the Valkyries entering Valhalla. Vocal delivery needs to project the mood and action of story at that moment in time, and blend with the musical accompaniment…not overshadow with intense vocal power.
The Glimmerglass orchestra, conducted by Doug Peck, wonderfully supports the show, beginning with the opening “Carousel Waltz” and continuing with sensitive flute and string accompaniment of solos like “When Children Are Asleep.”
If you have never seen a production of Carousel…go. If you have seen a production of Carousel…go. It is always a musical treat.
Carousel plays in repertory until August 22nd at Glimmerglass Music Festival, Cooperstown, New York.
Herbert Wolff studied under the guidance of Lee Strasberg and subsequently had roles with summer theater companies in upstate New York and on “live” television.He is former vice president of International Television Association and former Chairman of Massachusetts Advisory Council on Scientific and Technical Education. Herb continues to write, direct and appear in stage plays. For 25 years he has been the on-air reviewer of theater and opera productions for WAMC/Northeast Public Radio.
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