Carousel

St Cuthbert’s Operatic and Dramatic Society brought Rodgers and Hammerstein’s Carousel to life with warmth, craft, and flair. This classic musical, first staged in 1945, tells the story of Billy Bigelow, a charismatic but troubled carnival barker whose whirlwind romance with mill worker Julie Jordan leads to both joy and tragedy. Struggling with his temper and poor choices, Billy is drawn into a desperate robbery that ends in his death. From there, the story takes a metaphysical turn as Billy is given a chance to return from the afterlife to try to make amends, particularly with his daughter Louise. Alongside the central drama, the show is filled with humour, romance, and memorable musical numbers.

Direction by Janet Gilbert and Lesley Riley gave the production a clear shape and steady rhythm. Scenes flowed smoothly, with transitions handled neatly so the story never lost pace. They struck a good balance between the darker drama of Billy and Julie’s journey and the lighter comic moments from Carrie and Enoch, making sure the audience was carried along without the mood ever feeling too heavy. Ensemble scenes were arranged with care, always uncluttered and easy to follow, with placement during key moments ensuring the action was clear and the focus managed. The younger cast were brought forward at just the right times to enjoy their spotlight, while the principals had space to shine in their big numbers. Altogether, their direction kept the show engaging, colourful, and well-paced from start to finish.

Musical Director Mick Dawson guided the singers with care, shaping harmonies that blended smoothly and giving soloists the space to shine. Ensemble numbers carried a pleasing fullness, and the principals were supported through their big moments with clarity. His work ensured the vocal side of the production was confident and engaging, helping the score’s most memorable songs land with impact.

Helen Pollard and Tori Grayson brought a lively, inclusive spirit to the choreography, crafting routines that felt accessible across generations while still offering plenty of flair. Their work embraced a variety of styles and abilities, allowing both youth and adult performers to shine. A particular highlight was the ballet sequence in the second act, which told Louise’s story through graceful movement and expressive staging. It stood out as a striking passage, adding depth and contrast to the surrounding scenes while keeping the audience engaged.

Stage Manager Dan Tynan and the backstage team kept the show flowing with quiet precision, ensuring that scene changes were prompt and seamless. Their work supported the rhythm of the production beautifully, never drawing focus but always keeping the momentum alive. The backdrops of ocean vistas gave the show a sense of place and emotional scale, while practical set pieces like Nettie’s spa (brought on smoothly from stage left) grounded the action. One particularly striking moment was the top of the carousel descending from the roof, a lovely theatrical flourish. As ribbons extended and joined the structure, the cast moved with horselike grace, rising and falling in rhythm to evoke the carousel’s motion. It was a simple but effective piece of stagecraft, full of charm and imagination.

Lighting designers Paddy Keane and John Bradshaw brought a sensitive, atmospheric touch to the production, shaping mood and movement with precision. Their use of tight spotlights kept the focus clear, following the actors with care and allowing emotional beats to land without distraction. One of the most visually striking moments came during “If I Loved You,” where soft cyan and blue tones bathed the stage in a gentle melancholy, beautifully complemented by the quiet fall of blossoms from the tree as the scene unfolded. It was a moment of stillness and grace, emblematic of the thoughtful lighting choices throughout. Whether illuminating the bustle of the fairground or the intimacy of a quiet duet, the lighting supported the storytelling with subtlety and style.

Martin Johnson’s sound design was clear and consistent throughout, supporting the production with unobtrusive precision. Dialogue and vocals were well-balanced, allowing emotional nuance to come through without strain. Sound effects were prompt and effective, enhancing atmosphere without ever overwhelming the action.

Costumes by Lesley Riley and Jan McNabb, aided by Jennifer Pollard, gave the production a strong period feel. From the mill workers’ aprons to Billy’s carnival attire, each outfit added character and helped set the scene without ever overwhelming it. The wardrobe choices were thoughtful and consistent, giving the ensemble a cohesive look while allowing principals their own distinctive touches. Makeup, handled by Hayley Watson Reid, Maya Flack and their team, complemented the costumes with subtle detail. Carefully judged to enhance character without distraction, keeping performers stage-ready under the lights and adding to the overall presentation.

Richard Parrish brought Billy Bigelow to life with an imposing presence, capturing both his fiery temper and the vulnerability beneath. His scenes with Julie carried real intensity, and “My Boy Bill” was delivered with heartfelt conviction, showing Billy’s softer side with clarity. Debbie Seddon gave Julie Jordan a gentle warmth, her innocence gradually unfolding into quiet strength. Her clear, ringing high notes were a joy, and her stillness in emotional moments made her performance very affecting.

Fiona Monk was a delight as Carrie Pipperidge, full of comic sparkle and easy humour. She kept the audience smiling with her playful delivery, while her singing was bright and assured. Paul Cross as Enoch Snow offered steady charm and composure, his chemistry with Carrie both believable and endearing. His juggling turn in the opening scene added a playful touch, showing off versatility and timing.

 

Marcia Turner anchored the show with grace as Nettie Fowler, her “You’ll Never Walk Alone” sung with sincerity and reassurance, a moment that resonated strongly. Jason Morris leaned confidently into Jigger Craigin’s darker side, unsettling and opportunistic, his scenes sharp and well-judged. Tori Grayson gave Mrs. Mullin bite and presence, her exchanges with Billy full of tension and grit. Mimi Budd’s ballet as Louise Bigelow was expressive and graceful, telling her story through movement with clarity and emotional depth.

Robin Reid brought authority to Mr. Bascombe, stern and commanding, his role in the robbery scene handled with weight and precision. John McNabb gave calm dignity to both the Star Keeper and Dr. Seldon, bridging earthly and celestial moments with ease. Craig Fletcher added warmth as the Heavenly Friend, guiding Billy with gentle reassurance. Xander Atkinson was confident and endearing as Enoch Snow Jr., holding his own with poise and clarity.

The younger society members as the Snow children were sweet and precise, following Enoch with wide-eyed charm and adding humour and innocence to the ensemble. Their focus and energy lifted the group scenes, giving the audience plenty to smile at. The cast delivered colourful, engaging performances that kept the audience invested throughout, balancing humour, drama, and emotion with ease.

A heartfelt thank you to St Cuthbert’s Operatic and Dramatic Society for the kind invitation to share in this production of Carousel. It was a pleasure to experience the show and celebrate the efforts of all involved. Special thanks go to Lesley Riley for her generous hospitality; I look forward to many more productions from this society in the future.

 

 

 

 

 

 

 

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