Carousel

Carousel - Rodgers and Hammerstein’s musical based on Ferenc Molnar’s 1909 play called Liliom set in Budapest. Riding on the back of the success of Oklahoma! the pair wanted to create a musical from the story (Molnar was well known for not wanting the play adapting). They continued to work on the play and write down ideas as they came to them. By luck Ferenc Molnar went to the United States and saw a production of Oklahoma!  And it was reported at the time he said “If Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it”.  The scene is set.

Carousel was a first for pushing boundaries and challenging the audience with its domestic violence and imperfect characters re setting it in Maine known for its coastline. It was the first musical to win The Drama Critics Circle Award for Best Musical in 1945.

Walking into the theatre we are met with an eerie lone carousel horse centre stage. The composite set with stark back wall then had various set components brought on to create the scenes: the porch of Nettie’s house and Julie’s house Stage Left. Benches and outdoor fires and Stage Left black flats with starts in. What was impressive was the other six carousel horses on a base that were moved manually and used in the dance to great effect even in slow motion. Set Design by Louise Cohen, Alan Dodd and Simon White. Set Artists were Simon White and Drew Hogben. Set Construction by Simon White, Drew Hogben, Dave Matthew, Alan Dodd and Ian Hayes. Carousel horses drawn by Harriet Hayes and carousel horse artists were Harriet Heys, Lois Done and Olive Proctor. Lighting and Sound Design and Operation by Alan Dodd, Louise Cohen and Emily Cohen. Lighting and Sound all added to the show including the gun shot and some lovely colour washes were created adding to the atmosphere.

Musical Director was Louise Cohen with Guest Conductor David Wilson. The band sounded wonderful, never over powering the singers. This show hosts a number of famous songs that we have come to know and love over the years. So, the cast had big shoes to fill and fill them they did. Bravo.

Choreographer was Emily Cohen who hits the right note with empathy for the era, some lovely pictures were created throughout. In the ballet sequences where a lot of the story unfolds and sub-plots are presented, and with a large cast this was an accomplishment.  We were treated to an en pointe ballet dancer, the hornpipe and contemporary ballet which hit the right note also adding to telling the story. The factory scene also with the girls played out well. Agnes de Mille would be proud.

Louise Cohen directs and is not afraid to take on this big musical in more ways than one, big topics and cast size of nearly 60. The cast were used well on stage and great tableaux created. The opening of Act II A Real Nice Clambake looked great as did the graduation scene finale with the whole cast on the stage was utilised well. The cast embodied the era and added to this the costumes looked fitting and hair and make-up looked good. Costumes CATS Youth Theatre and Janet Hardman. It’s all in the detail.

The show opens with a montage that acts as the prologue to the show. We are treated to various circus performers and dancers and later on in Act II The Ballet features the Snow Children and Louise Bigalow. The Snow Children were Gracie Ozard, Eva Joyce, Ava Ashton, Lily Done, Eva Myatt, Ollie Mabon, India Jackson and Aria Walsh. Enoch Snow Junior was played by James Burke and Louise Bigelow played by Harriet Heyes. The story was played out well with movement and Harriet gave a lovely performance as the feisty young girl a chip off the old block.

Jake Little took on various supporting roles making a substantial contribution as Captain, Policeman Carnival Boy and Headmaster. Jake also was one of the dancers and danced with Harriet in the ballet, eventually rejecting her adding to the story.

Mr Bascombe was the factory owner played by Nathan Dodds, who was strict and actually had his wits about him, foiling the attack on him. The Heavenly Friend was played by Alfie Browne, guiding Billie through his afterlife. Ruby Magill played Mrs Mullin the proprietress of Mullin’s Carousel, speaks before she thinks, so she loses her best barker. Iona Budis takes on the role of Nettie Fowler is Julie’s kindly cousin who takes her in and Iona gets to sing the big songs like June Is Bustin’ Out All Over and You’ll Never Walk Alone. Lovely.

Lewis Cunliffe plays Dr Seldon and The Starkeeper. Great energy on stage. Ethan Sheppard plays Jigger Craigin, a no-account whaler who certainly leads Billie astray and the card game was done well to set the scene about his character. Tom Clancy as Enoch Snow certainly brought out the pompous, ambitious, fisherman and Carrie’s description about him leaving the show but sneaking back to see it says it all. Hilarious. Tom worked well with Lauren Quigley playing Carrie Pipperidge, Julie’s best friend. Lauren’s high energy worked well with Tom being demure. They say opposites attract.

Amy Costello plays the complicated Julie Jordan, almost ahead of her time she isn’t looking for love and doesn’t care what people think about her. The musical being also ahead of its time with tackling domestic abuse and Julie accepting of it, is a difficult watch. When her daughter also says it didn’t feel like a smack. As an audience we watch and wonder and while this is difficult to comprehend the character Julie is at peace with this and doesn’t question it. If anything brushes, it off. It’s clear she’s attracted to him as all the other women are but maybe it’s her responses that attracts him. Amy plays the part with maturity from within and we see her grow, so at the end we feel her pain. Her moments of stillness really helped convey her thoughts.  Her connecting with Ethan Browne playing the troubled protagonist Billy Bigelow was evident. Billy is an angry young man who doesn’t get on with people almost a lost soul. Billie’s Soliloquy enables us to have just a little moment into understanding him. It is then I felt I could connect to Ethan’s character and you just wanted him to see sense. He is given a second chance by the Heavenly Friend and the Starkeeper and nearly blows it. Ethan takes us on journey of emotions throughout the show and for Amy and Ethan to keep an audience for nearly three hours interested in your story, which was emotive. I applaud you. I was moved at the end and thoroughly engrossed.

Thankyou CATS Youth Theatre on your 30th year of producing shows for the youth of Bolton, giving confidence and a sense of community, from my guest Thomas and I

Liz Hume-Dawson

District 5 Rep

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