{"id":10447,"date":"2018-06-07T16:19:03","date_gmt":"2018-06-07T16:19:03","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10447"},"modified":"2019-07-11T16:23:44","modified_gmt":"2019-07-11T16:23:44","slug":"broadways-new-revival-of-carousel-mediocrity-is-busting-out-all-over","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2018\/06\/07\/broadways-new-revival-of-carousel-mediocrity-is-busting-out-all-over\/","title":{"rendered":"Broadway\u2019s New Revival of \u201cCarousel\u201d: Mediocrity is Busting Out All Over"},"content":{"rendered":"\n

It’s Theatre Thursday! We’re talking about “Carousel” at Broadway’s Imperial Theatre.
<\/em><\/p>\n\n\n\n

When\nthe current revival of \u201cCarousel\u201d was announced last year, everyone was beside\nthemselves with excitement. With a cast including Jessie Mueller as Julie\nJordan, Joshua Henry as Billy Bigelow, and opera diva Renee Fleming as Nettie\nFowler, it ranked among the most incredible Broadway news in recent memory.\nFinally a phenomenal leading role for Josh Henry! Jessie Mueller never\ndisappoints! Renee f-ing Fleming! This cast singing that wonderful, much-loved\nscore? Hopes were insanely high all across the Broadway community, and of\ncourse such expectations could not go unfulfilled, right? I mean, this is\n\u201cCarousel\u201d, one of Rodgers and Hammerstein\u2019s most beloved works and the musical\nthat many (including Time Magazine in 1999) consider the best of the 20th\ncentury. Bring this shit on!, we all thought expectantly. Well, a word in that\nprevious sentence applies to this production more than I ever could have\nguessed. <\/p>\n\n\n\n

Despite having some pretty\ntough-to-fork-up material, director Jack O\u2019Brien does just that, by presenting\na lackluster, perplexing version of the musical that is somehow completely\ndevoid of emotion. Is boredom an emotion? Devoid of most emotions. I heard a\nlot of the complaints on the boards that this production cut a few songs and\nscenes for no good reason and made some changes that die-hard fans of the\nmusical objected to, but since I had actually never seen a full-fledged\nproduction of \u201cCarousel\u201d before, I figured that I wouldn\u2019t know enough to be\nupset about any changes. So I went in assuming that I would adore this\nproduction. I did not. Turns out there is plenty wrong that doesn\u2019t require\nintense fandom or deep knowledge of the original to recognize. <\/p>\n\n\n\n

From the start, I knew\nsomeone had some \u2018splaining to do. It\u2019s forking called \u201cCarousel\u201d because a lot\nof the important action centers around one at a carnival (and life is like a\nmerry-go-round too I guess such symbolism) and so when a Broadway production\ndoesn\u2019t actually have a carousel on stage \u2013 or virtually any<\/em>sets at all \u2013\nyou\u2019re asking for disappointment. True, the contraption that came down from the\nrafters \u2013 a sort of cardboard origami light fixture that expanded into a very\npretty circle that acted as the suggestion<\/em> of a carousel\n(or at least the top section of it) \u2013 was an impressive moment of stagecraft\nand it is a pretty lil bit of paper funtimes that would be excellent decoration\nin a backyard barbecue, but as the main set piece in a Broadway production it\nmade my stomach hurt like Chidi when making a small decision. It doesn\u2019t help\nthat the show I saw before this was \u201cMy Fair Lady\u201d<\/a>, which has\nsome of the most impressive and imposing set design I\u2019ve ever seen, but seeing\nthe barest of stages here at the Imperial was beyond dissatisfying. <\/p>\n\n\n\n

The show begins with the\nCarousel Waltz, sort of an overture and an introduction to the setting and the\nstory. We\u2019re in coastal Maine in\nthe late 1800s (the show was written in 1945), and we see Billy Bigelow\nexaggeratedly miming his duties as carnival barker (the \u201cstep right up!\u201d job)\nas the ensemble dances for more than 10 minutes. Choreographer Justin Peck of\nthe New York City Ballet is one of the most famous and esteemed, so in this\nproduction it\u2019s clear that O\u2019Brien just let him run wild with SO MUCH BALLET.\nIf you\u2019ve read my past reviews of musicals and ballets, you know that I always\nwant more and more ballet in anything. Even full-on ballets sometimes haven\u2019t\nhad enough dancing for me. This production has too much. It\u2019s not that it isn\u2019t\nimpressive; the problem is that it rarely is doing the job that dance should be\ndoing in musicals: helping to tell the story. Instead, all the excessive ballet\nseems to be there just for its own sake instead of to further the story.  <\/p>\n\n\n\n

The first singing comes from\nCarrie Pipperidge, a role I know well because Audra McDonald won her first Tony\nfor it. The Tony-nominated performer (who is likely to win it this Sunday)\nplaying the role now, Lindsay Mendez, was out, so she must have been pretty\ndarn sick or exhausted considering I was there two weeks before the awards,\nwhen voters are coming out in droves. Her understudy, Scarlett Walker, was very\nimpressive, but I am disappointed to have missed probably this production\u2019s\nbest shot at an acting Tony. Anyway, Carrie sings to her best good friend Julie\n(Mueller) \u201cYou\u2019re a Queer One, Julie Jordan\u201d and you\u2019re like this is how the\nshow starts, mmkay. Julie was just yelled at by Mrs. Mullins, the mean old\nwidow (Margaret Colin (Eleanor Waldorf from \u2018Gossip Girl\u2019 lolz)) who runs the\ncarousel, because Julie let Billy put his arm around her when she rode the\ncarousel. Mullins is bitter that no one\u2019s putting his arm around her and also\nit\u2019s the 1800s so I guess it was improper but it all seems a bit silly. After\nCarrie tells Julie how queer she is, Carrie sings about her new engagement in\none of my favorite songs, \u201cMister Snow\u201d, which is her fianc\u00e9\u2019s name. At this\npoint Julie hasn\u2019t really sung and you\u2019re like\u2026is Carrie really the main female\ncharacter? In this production, she really seems it. Even with an understudy on,\nCarrie shone much brighter than Julie and seemed to have MUCH more to do.\nSomehow O\u2019Brien made Julie Jordan seem like the supporting character. That\ntakes effort to make the leading lady seem so unimportant and inconsequential,\nespecially when you have the usually divine Jessie Mueller playing her. But\nJessie seems incredibly miscast here. The thought she always puts into her\ncharacters seems to be misleading her here (along with her director) and the\nperformance is simply awkward. <\/p>\n\n\n\n

Mueller\u2019s unsuitability for\nthis role is amplified like someone was shouting about it with a bullhorn when\nBilly comes to join the girls. Joshua Henry is a great performer and I\u2019ve loved\nmany of his performances. This is not one of them. Individually, Mueller and\nHenry are miscast, but thrown together, with all their lack of chemistry and\ntension and really anything<\/em>, they\u2019re a\ndisaster. They just don\u2019t work as a couple. I\u2019m sure it must be an extremely\nbig ask to turn down even one of these esteemed performers when you could have\nboth, but that kind of decision making is required for the good of a show. <\/p>\n\n\n\n

Even aside from the poor\ncasting and zero chemistry, this production suffers from\u2026the story of\n\u201cCarousel\u201d. It\u2019s outdated and problematic, and it really doesn\u2019t hold up in\nmodern times, and instead of refocusing the story or using different direction\ntechniques to reframe it, this production presents the old story straight.\nAfter the girls sing, Billy comes to join them and he tells off Mrs. Mullins\nand subsequently gets fired. He doesn\u2019t seem to care. Carrie tells Julie that\nthey better get home before curfew at their mill-workers quarters or whatever,\nbut Julie wants Billy to think she\u2019s cool, I guess, so she gets fired too. So\nthese two miscast fools who just lost their jobs so they could stay out a\nlittle later and \u2018flirt\u2019 (talk to each other with zero emotion) tiptoe around\nawkwardly and sing one of the best musical theatre songs, \u201cIf I Loved You\u201d,\nbeautiful but with zero emotion. It\u2019s a real shame that this song is done such\na disservice by being given to this pair. Not the miscast Mueller and Henry \u2013\nthey sound lovely and would even if singing the phone book \u2013 but the pair of\nJulie and Billy. They\u2019re revered as one of the important love stories in\nmusical theatre, but really, they and the story of \u201cCarousel\u201d are a mess. A\ntimid, clumsy girl meets an aggressive, cold man at a carnival and gives up\neverything because she wants him to love her. After they get fired, they\u2026get\nmarried?! And Julie gets pregnant. Billy may claim he does eventually but he\nnever, ever shows any sign of it, instead abusing Julie verbally and physically\nafter they marry because he\u2019s so sad he can\u2019t find a job. Julie always defends\nhis actions, understanding that it\u2019s so hard for him to deal with the pressure\nof being a provider for his family. The biggest problem of all with this\nrevival is that it doesn\u2019t do anything to reframe their relationship in the\nmodern day and age, and presents all these sentiments as not the products of\ntheir time, which they are, but as good enough to stand on their own with no\nnew way of looking at it. It\u2019s presented as fine for Julie to excuse her\nabuser\u2019s actions because he can\u2019t find a job. It\u2019s not. In the second act, when\nBilly hits another female member of his family and she defends it as feeling\nlike a kiss instead of a slap, it just lies there again. It\u2019s weird. <\/p>\n\n\n\n

If you don\u2019t know the rest of\nthe story, I\u2019ll tell you real quick. After they get married and Billy yells at\nJulie a lot and hits her and everyone is DEPRESSED ALL THE TIME, Billy\u2019s friend\nJigger cooks up a hare-brained scheme for the two of them to rob a rich man. Oh\nand kill him. Billy at first says nah thanks but after he finds out he\u2019s going\nto be a father and has nothing to give his kid, he decides to do it. Kids are\nexpensive. And Jigger is super persuasive \u2013 Amar Ramasar was one of my favorite\nparts of this production, mostly because he is given the enormous dance solo\nthat actually feels intentional. Amar is absolutely electric in his dancing and\nit was the most exhilarating scene of the entire production. Well, tied with\nBilly\u2019s \u201cSoliloquy\u201d, when he thinks about what having a son, or a daughter,\nwill be like. You know this song; it\u2019s the big \u201cMy boy Bill\u201d moment. This is\nwhere Henry absolutely shines \u2013 it\u2019s helped by the fact that he\u2019s alone on\nstage and just singing, which is what he does best. His version of this\n7-minute epic song, one of the best and most challenging for men in musical\ntheatre, is nearly flawless. He\u2019s great here. It\u2019s a shame that the rest of the\nperformance doesn\u2019t get the chance to live up to it (and given how great he is\nhere, I do blame the director and other aspects and not Henry). His final\ndecision, as he sings \u201cI never knew how to make money but I\u2019ll try! I\u2019ll try!\nI\u2019ll try! I\u2019ll go out and make it or steal it or take it! Or die!\u201d is riveting\nand you know one of those things is going to come true. Spoilers (for a 1945\nshow?? really?): it\u2019s the last one. Jigger\u2019s plan goes awry and the mark fights\nback long enough for cops to arrive, and instead of getting arrested or killed\nby cops, Billy kills himself. Julie is distraught, and Billy goes into the\nafterlife. He\u2019s met by the Starkeeper, one of heaven\u2019s administrative\nassistants or what not. The Starkeeper tells Billy that he has a chance to go\nback to earth for one day, to try to redeem himself since he has not earned\nenough points to get into heaven yet. Listen, Billy is an asshole. I don\u2019t know\nwhat a mean abusive jackwagon can do in a day to redeem himself enough for\nentry into heaven, but I do know that what he does \u2013 give a pep talk to his\nnow-grown daughter (time moves suuuuper fast on earth when one is off of it) \u2013\ndoes not seem like it should be enough, especially since the tiny pep talk\ncomes after he hits her. Yes Dream Ghost Billy goes back down to earth, watches\nhis daughter do the famous Louise Ballet to introduce her character and her\ntroubles, he meets his daughter, doesn\u2019t tell her who he is obviously because\nshe\u2019s be like um what, but he still F-ING HITS HER, and then at her high school\ngraduation he tells her to believe the words of \u201cYou\u2019ll Never Walk Alone\u201d, and\nthat\u2019s enough for him to get into heaven? PUH. LEASE. Also, not to beat the\ndead horse that is my review of this production, but the Louise Ballet was so\nupsetting for me. It was actually ugly. I was so disappointed. I get having the\ndance convey the character\u2019s awkwardness as an outcast teenager, but there are\nways to do that without having the dancing be so hideous and disjointed and just\nunenjoyable. At least it was overly long too. <\/p>\n\n\n\n

So yeah, while the score is\ngorgeous and well sung, the book of \u201cCarousel\u201d is not something that such weak\ndirecting and producing can help with when revived today. Fortunately, there\nare enough highlights in this production to make watching the show bearable and\noften enjoyable, even through my exasperation. As I said, Ramasar\u2019s Jigger is a\nhighlight, as is Henry\u2019s outstanding \u201cSoliloquy\u201d, even if the rest of his\nperformance left me freezing cold. Carrie Pipperidge and Enoch Snow (our\nunderstudy Scarlett Walker and the always great Alexander Gemignani) seem like\nthe main characters because they are the only energetic, charming people on\nthat stage (well, at least until Snow achieves his desired level of success and\nlets it go straight to his head). And our Nettie Fowler is a consistent bright\nspot on this bare stage, as Renee Fleming is doing a bangup job in her first\nBroadway musical role, and seems to be carrying the entire show and company in\nher warm, loving arms. Her \u201cYou\u2019ll Never Walk Alone\u201d is as gorgeous as you\u2019d\nexpect, and although she didn\u2019t say anything about the\nhucka the bejeepers<\/a>, her \u201cJune is Busting Out All Over\u201d was a joyous romp.\nShe even made the weird song \u201cThat was a Real Nice Clambake\u201d (real song title)\nenjoyable. So yeah, there is a lot wrong with this production, and it\u2019s\ndisappointing that we weren\u2019t given a revival for the ages like we are with the\ncurrent \u201cMy Fair Lady\u201d, especially since it will be a while now before we\u2019ll\nget another one. But there are some good things about this production (thank\ngod), so it\u2019s not a total loss.<\/p>\n\n\n\n

INFORMATION<\/strong>
\nThe front row of the rear mezzanine has a big barricade tight\nat your knees with a heavy curtain hanging down it, so you can\u2019t just jump up\nand go like I thought you could when I bought the seat. If you are limber, you\nare able to slither through the bars and through the curtain\u2019s onto the floor\nbelow like I did instead of waiting for my row to get up because IDGAF what\nanyone else thinks (they thought I was bananas though for sure).
\nRun time is about 2 hours and 40 minutes.
\n 
\nSTAGE DOOR<\/strong>
\nThe ensemble comes out pretty quickly and everyone is very\nfriendly (except Eleanor Waldorf, actually, who was kind of a b word to me).\nRenee Fleming actually took selfies which was amazing and she was absolutely\nlovely. I called it after an hour waiting for Henry and Mueller, the longest\nI\u2019ve ever waited, but I could not defend wasting any more time waiting for\nthem. I mean I was going to lie to them anyway, so it\u2019s for the best. <\/p>\n","protected":false},"excerpt":{"rendered":"

It’s Theatre Thursday! We’re talking about “Carousel” at Broadway’s Imperial Theatre. When the current revival of \u201cCarousel\u201d was announced last year, everyone was beside themselves with […]<\/p>\n","protected":false},"author":2,"featured_media":10448,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"class_list":["post-10447","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"\nBroadway\u2019s New Revival of \u201cCarousel\u201d: Mediocrity is Busting Out All Over - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2018\/06\/07\/broadways-new-revival-of-carousel-mediocrity-is-busting-out-all-over\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Broadway\u2019s New Revival of \u201cCarousel\u201d: Mediocrity is Busting Out All Over - Laughfrodisiac\" \/>\n<meta property=\"og:description\" content=\"It’s Theatre Thursday! 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