Carrie The Musical

A warm welcome from Queen’s Musical Theatre Society at Stranmillis University College Theatre led me into a dimly lit, atmospheric auditorium, where eerie sound effects immediately set the tone for what lay ahead. I was excited to see how this society would tackle their new production of “Carrie the Musical” based on Stephen King’s iconic novel. The story weaves light-hearted teenage experiences with dark and difficult themes, including bullying, domestic violence, and sexual assault. I certainly wasn’t disappointed.

The show opened promptly, framed as a flashback, in a bright spotlight, Sue Snell is interrogated by police, recounting the events that led up to the murderous prom night. This gripping introduction was followed by energetic, well-rehearsed full-company choreography that immediately settled the audience into what proved to be a well-cast and compelling production.

Director Mark Comer faced a demanding challenge. Carrie the Musical is a complex work, with numerous demands including gripping drama, fast pacing, special effects, split scenes, and frequent transitions, all of which require precision and clarity. For the most part, the direction felt secure and thoughtfully considered and it was evident how much work had gone into making this production a success. However, some scene transitions were slightly unclear, with cast members occasionally blocking one another while entering and exiting, momentarily confusing the narrative. A more varied use of the different settings, including entrances and exit space, could have helped maintain the flow and clarity of the production.

Choreography by Serena Smart was a particular highlight. It was clearly well rehearsed, interesting, consistently engaging, and always appropriate to the tone and style of the piece. Musical Director Amber Monahan also delivered strong work, guiding well-prepared musical numbers performed to backing tracks with flair and precision from a cast of around 30 performers.

In the title role, Cara Scullion delivered a believable and deeply engaging performance. She navigated Carrie’s emotional journey with impressive range, from terrified and timid, to briefly hopeful, and ultimately consumed by anger. Her portrayal captured a girl with a soft, fragile exterior but a powerful, simmering energy beneath the surface. She delivered a vocally outstanding performance.

Sorcha McGlynn, as Margaret White — both suppressed and suppressor — elevated the role from merely controlling to truly terrifying. She too showcased a great voice. “Eve Was Weak” was one of the most tense and gripping moments of the first act. Both Ms Scullion and Ms McGlynn gave very accomplished performances.

Sarah Whittle as Sue Snell and Aaron McElroy as Tommy Ross delivered believable and sincere performances, each demonstrating strong vocal ability. Their on-stage chemistry brought warmth and authenticity to their relationship, providing a welcome contrast to the darker elements of the story. Jess Sloan as Chris Hargensen and Sean Cooper as Billy Nolan fully embodied the archetypal “popular kids,” but with an unmistakably sinister edge. They were every bit the true villains of the piece, cruel, manipulative, and brimming with energy as they plotted their schemes and revenge. Their dynamic added menace, driving the tension steadily towards the inevitable and devastating prom night.

Aine McConvey as Miss Gardner and Adam English as Mr Stevens, the teachers of Chamberlain High School, had their work cut out trying to maintain control over a group of energetic and often disruptive teenagers. Ms McConvey brought warmth and authority to the role, alongside a particularly pleasing voice. Her genuine affection and concern for Carrie came across convincingly. Mr English portrayed the often-frustrated teacher with credibility, balancing exasperation with humour in a way that felt authentic. Together, they delivered convincing performances.

The ensemble in Carrie the Musical was impressive, bringing energy, precision, and cohesion to every scene. Choreography highlighted their versatility, while their vocal work perfectly supported the principal cast. Even during fast transitions and tense moments, the group remained focused and engaged. Their energy and enthusiasm were a driving force behind the success of the production.

Sound was generally good, unfortunately they experienced some technical issues on the night, when all personal microphones lost amplification for a few minutes. However, the cast took it in their stride and continued without hesitation. The temporary disruption did not diminish the overall quality of the performance. The audience remained fully engrossed in the story and the strength of the performances.

Lighting was well considered, with effective use of spotlights, strong washes, and generally appropriate cues that supported the mood and transitions of the piece. The set and props were simple but effective, a practical design that worked. The special effects were simply done, the audience could see the shiny “invisible” nylon strands used to make the various props move, but it didn’t spoil the enjoyment or detract from a thoroughly enjoyable performance. The costumes and hairstyles were of the right era and appropriate. 

As a self-funding amateur society, this production took a mindful, sensible and responsible approach, protecting the financial future of the musical society, and for that, you should be applauded. 

Overall, Carrie the Musical was a bold, energetic, and thrilling production that kept Belfast audiences captivated. The cast and creative team delivered a performance to be truly proud of. Thank you to Queen’s Musical Theatre Society for the invitation. I look forward to seeing what you do in future productions.

 

The views in this report are solely of the author.

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