A once-in-a-blue-moon convergence of material and artists, Carousel: A Concert all too briefly recalls not only the dawn of the Golden Age of Broadway but also the glorious 21 years of treasured Melbourne institution The Production Company.
Presenting an existing concert adaptation by Tom Briggs, producer Enda Markey has conjured a shimmering mirage for lovers of classic musical theatre. Wisely prioritising available time and resources, Markey has focused on the glorious Rodgers and Hammerstein score, with a lush orchestra of 22 musicians on stage and a full company of richly talented singers.
Masterful musical director Guy Simpson helms a richly detailed performance of Rodgers’ infinitely melodious score. Simpson’s exacting work is ably supported by sound designer Tom Brickhill, who expertly captures and balances every instrument.
In a sign of the dedication of the full company to the project, the entire performance is done “off book,” intricate harmonies and all. The use of microphones on stands retains the concert feel, but this is a fully acted, deeply movingly presentation of Carousel.
Working with artists as gifted at acting as with singing, director Petra Kalive delivers a fully realised emotional performance, with heartfelt pathos neatly balanced by warm comedy. The concert version makes partial use of a narrator (here, the redoubtable Tony Llewellyn-Jones), but the abundant gifts of the performers drive the story along, easily allowing for brief gaps in the edited book.
If there is one aspect missing in this concert presentation, it is full company choreography. The prologue, “The Carousel Waltz”, is played by the orchestra with no action from the cast, meaning that we do not see Billy in action as a barker at the carousel nor Julie’s original attraction to him. “June Is Bustin’ Out All Over” remains a rousing company number but the dance break is completely cut.
Thankfully, the one key choreographic that is retained is the famous act two ballet, in which Billy watches his daughter Louise dance with a carousel barker of her own. Working with gifted dancers Jasmine Durham (Louise) and Ben Obst (Barker), choreographer Phillip Connaughton deftly captures the blend of artful dance and concise storytelling that original choreographer Agnes de Mille brought to this sequence.
Lighting designer Gavan Swift delivers the visual appeal of the concert, with festoons of globes arranged carnival-like overhead, later also suggesting a heavenly sky full of stars. Costume designer Casey Harper-Wood keeps mostly to traditional concert attire of black, with touches of earthy brown tones for the principals.
Leading lady Anna O’Byrne eschews concert glamour for a heartfelt, fully grounded characterisation of Julie Jordan as a relatively ordinary young woman carried away by the intoxicating lure of romance. An actor of significant emotional intelligence, O’Byrne not only sings the role beautifully but also makes the best of the controversial elements of domestic abuse in the story, from which director Kalive does not shy.
British actor Danny Whitehead, now living in Australia, makes a highly auspicious local stage debut, capturing the full swagger of handsome barker Billy Bigelow. Whitehead sings the celebrated role with flair, exhibiting a rich baritone and neatly drawing out aspects of Billie’s vulnerability in his songs.
Kerrie Anne Greenland delights as Carrie Pipperidge, providing welcome cheeky humour. Greenland’s vocals not only showcase her full bodied soprano but also the depth of expression she brings as an accomplished actress.
Greenland is wonderfully partnered by versatile tenor Blake Bowden as Carrie’s cherished beau, Enoch Snow. Bowden makes terrific use of his lustrous tenor voice, also bringing a sweetly comical adorkability to Mr Snow.
Veteran soprano Marina Prior brings a light touch to earthy Nettie Fowler, delivering iconic hymn “You’ll Never Walk Alone” in characteristically gilded tones.
Andy Conaghan brings a devilish twinkle to Billy’s ne’er-do-well chum Jigger Craigin. Paula Arundell tampers down the sexual undertones of carousel proprietor Mrs Mullins, rendering the role relatively ineffective. Tony Llewellyn-Jones is all class, bringing heart and backbone to mill owner Mr Bascombe and an unsentimental candour tone to the Starkeeper.
The ensemble is blessed with sterling talents, many of whom are leading performers in their own right. Joshua Robson and Genevieve Kingsford are just two examples of the invaluable strength on stage.
If you are reading this review in Melbourne on the morning of Sunday 8 September, there is one more opportunity to see Carousel: A Concert. Get to the Princess Theatre now!
Rodgers & Hammerstein’s Carousel: A Concert played at Princess Theatre, Melbourne 7-8 September 2024. For tickets to the 8 September performance, click here.
Photos: Jeff Busby