Review by David Gardette
Adapted from the Hungarian work Liliom by Ferenc Molnar, Carousel marked the 2nd collaboration between Richard Rodgers (music) and Oscar Hammerstein (book & Lyrics). Following their smash hit Oklahoma!, the duo, eager to collaborate again, were at first reluctant to seek the rights to Liliom mostly due to the original ending being considered too depressing for Musical Theatre. But following an adaptation that gave the end a more optimistic note, the musical opened on Broadway in April of 1945 and was an immediate critical and audience success running for 890 performances and spawning an equally successful West End run. Although never achieving the commercial success of Oklahoma!, it has enjoyed numerous revivals, a film adaptation and in 1999 the honour of being named the best musical of the 20th Century.
With a lush, rousing score, familiar songs and contemporary themes, producer Enda Markey’s presentation of Tom Briggs’ concert adaptation is an audible treat, inviting the audience to fully admire the cracking on stage orchestra and outstanding vocal ensemble emanating from the stage.
With zero set and very minimal stage design, Director Petra Kalive still succeeds in staging an evocative and nostalgic production. Greatly assisted by Gavan Swift’s atmospheric lighting design, full of colour and festoon lighting, and making use of the theatre’s wonderfully exposed brick wall, the creative duo charm us with a charismatic glimpse into1870’s coastal Maine.
Featuring some of Australia’s finest Musical Theatre performers, from first timers to icons of the industry, we are treated to a tour de force ensemble of artists, including the wonderful 22 piece orchestra expertly led by Guy Simpson.
As wholesome millworker Julie Jordan, who falls for the boy from the wrong side of the tracks, Helpmann Award winner (My Fair Lady) Anna O’Byrne offers a heartfelt, restrained and beautifully sung performance. O’Byrne is wonderfully partnered by Danny Whitehead as troubled and fiery carousel barker Billy Bigelow. Hailing from the UK, Whitehead’s baritone vocal soars and anchors his place amongst the Australian theatre scene with this impressive Aussie debut.
Kerrie Anne Greenland’s firecracker performance as Julie’s best friend, Carrie Pipperidge, perfectly captures her lively albeit practical nature. Her vocal is powerhouse! Coupled with Blake Bowden’s wonderfully sung naïve fisherman and love interest Enoch Snow, the duo delivers some quirky comedic and charming moments.
As you would expect from two of Australia’s stalwart performers, both Marina Prior (Nettie Fowler) and Tony Llewellyn-Jones (Narrator, The Star Keeper, Dr Seldon) give consummate performances full of heart.
Carousel’s very limited run may be over, and I do hope there is a chance of another staging. It was an absolute joy to while away a lazy afternoon and get lost in the many talents that the Melbourne theatre scene has to offer.
Photo credit: Jeff Busby
