Of all the greatest Broadway musicals, only Carousel gets me every single time, this more so than ever before: It literally drenched me in tears from start to finish. Blythe stands the tallest, and her anthem at the end tore me in twain.. Even though it has been honed down to its essential skeletal structure, the lyrics still succeed in moving one to tears. More than any other semi-staged concert version of a musical, the direction here was so on the mark that the authentic acting permitted one to identify readily with the main characters. The overarching Christ story of sin, contrition, forgiveness and redemption contribute to the tale, which is really an opera. The full glorious orchestration playing this exquisite score, supplemented by a perfect cast with matching voices are sublime. The touching ballet sequence at the end was thrilling, far better than in any other version I have seen. Bravo all round.
Live from Lincoln Center (TV Series)
The New York Philharmonic's Performance of Rodgers & Hammerstein's Carousel (2013)
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Load up with clams, a red hot lobster and fall into the gorgeous world of Rodgers and Hammerstein.
mark.waltz5 July 2017
Warning: Spoilers
Probably the most symphonic of the Rodgers and Hammerstein musicals, this ranks as my favorite of their shows. It doesn't matter that I spent occasional summers in New England on the ocean eating pails of clams (fried or boiled) and dining on smaller sized chicken lobsters, collecting shells and exploring some of the oldest settlements in the United States. It's also the bittersweet romantic story, a combination of fantasy and hard as nails reality, a desire for atonement and the urge to leave love ones behind in peace. It's also that lush score and the beautiful lyrics, starting with a waltz that has to be heard with a huge orchestra, preferably a Philharmonic. Toss in some of Broadway's great talents, and you have the dreamiest of Live from Lincoln Center specials ever produced.
With a deep romantic voice yet a not quite leading man look, Nathan Gunn is a combination of brutish masculinity and hidden spirit underneath all that bravado. Billy Bigelow is far from perfect, certainly no Curly ("Oklahoma!") or Emile ("South Pacific"), but far more realistic for his time period when most men weren't passive in any sense. Kelli O'Hara, one of the greatest finds on Broadway since the turn of the century, is a sensational Julie Jordan. Even in dark hair, O'Hara shows a loveliness that is real looking, far from assembly line gorgeous, yet appealing in every way. When she breaks into "If I Loved You", have Kleenex handy. Both seem older than the actual characters, but that is transcended by their chemistry and respect for the material.
Rising star Jessie Mueller has matched O'Hara's popularity as a Tony winning leading lady, but this is her towards the beginning of her career, just before winning acclaim for playing Carole King in "Beautiful". She doesn't play Carrie like a ninny (the original conception), so Carrie is more well rounded and easier to take seriously. Plump Stephanie Blythe is big boned, big voiced, and big hearted, and with a cousin like that on your side, I imagine you'd never walk alone. Her earthy love has her as an angel on earth, ironic considering who ends up the angel here.
The large stage is overwhelmed with male testosterone, with golden voiced Jason Daniely filled with humor as he is with many manners over his awkwardness as he is with sardines as Carrie's intended. Shuler Hensley, quietly brutish as the misunderstood Jud in the 2002 revival of "Oklahoma!", switches gears as the roguish Jigger who leads Billy astray. Stage vets Kate Burton and John Cullum round out the cast of known actors, with Burton very funny as the vain Mrs. Mullins and Cullum poignant as the voice of spirituality leading Billy to eternity. The staging is absolutely spectacular, with the actors running around the huge orchestra on platforms and other devices to creatively move the action around. There is no use of wondrin'. A better "Carousel" concert would be impossible to find.
With a deep romantic voice yet a not quite leading man look, Nathan Gunn is a combination of brutish masculinity and hidden spirit underneath all that bravado. Billy Bigelow is far from perfect, certainly no Curly ("Oklahoma!") or Emile ("South Pacific"), but far more realistic for his time period when most men weren't passive in any sense. Kelli O'Hara, one of the greatest finds on Broadway since the turn of the century, is a sensational Julie Jordan. Even in dark hair, O'Hara shows a loveliness that is real looking, far from assembly line gorgeous, yet appealing in every way. When she breaks into "If I Loved You", have Kleenex handy. Both seem older than the actual characters, but that is transcended by their chemistry and respect for the material.
Rising star Jessie Mueller has matched O'Hara's popularity as a Tony winning leading lady, but this is her towards the beginning of her career, just before winning acclaim for playing Carole King in "Beautiful". She doesn't play Carrie like a ninny (the original conception), so Carrie is more well rounded and easier to take seriously. Plump Stephanie Blythe is big boned, big voiced, and big hearted, and with a cousin like that on your side, I imagine you'd never walk alone. Her earthy love has her as an angel on earth, ironic considering who ends up the angel here.
The large stage is overwhelmed with male testosterone, with golden voiced Jason Daniely filled with humor as he is with many manners over his awkwardness as he is with sardines as Carrie's intended. Shuler Hensley, quietly brutish as the misunderstood Jud in the 2002 revival of "Oklahoma!", switches gears as the roguish Jigger who leads Billy astray. Stage vets Kate Burton and John Cullum round out the cast of known actors, with Burton very funny as the vain Mrs. Mullins and Cullum poignant as the voice of spirituality leading Billy to eternity. The staging is absolutely spectacular, with the actors running around the huge orchestra on platforms and other devices to creatively move the action around. There is no use of wondrin'. A better "Carousel" concert would be impossible to find.
Richard Roger's favorite musical
jdmcox5516 May 2020
And it's my favorite, too. I've seen the movie version of Carousel a few times, and never cared for it. That's probably why I was blown away when I saw this production (on video). There's all the difference in the world between the movie version and this filmed stage version. The story finally made sense to me, and everything about it was beautiful, even Billie Bigelow came across as a real person in this production. The stage production had great orchestration, great singing, great acting, and even great dancing. A treat for the eyes and soul.
Nostalgic
gkeith_126 April 2013
Warning: Spoilers
My parents saw and loved the original of this stage musical, "Back in the Day", in New York City. You know, that other decade, just immediately past World War Two, right before I was conceived. In that original show, from what I can gather, starred Jan Clayton and John Raitt as Julie Jordan and Billy Bigelow.
My mother and father made sure "If I Loved You" was played at my wedding. Father, like Billy, had already gone to that star-place by that time, but also like Billy, his presence was very much felt. This was my second and most important wedding, the one of recent decades; the first one was way earlier and with no musical accompaniment.
That said, I have seen and heard the original singing stars on YouTube and on their cast record album. They were fabulous, and their vocal ranges were powerful.
Vocally, the newest "Carousel" is a whimper. The recent Lincoln Center version was beautiful to view, and I loved the beautiful carousel horses suspended from the ceiling near the orchestra. The singing stars (names left out) were, I felt, nowhere near the vocal abilities of the originals. The male star's diction leaves a lot to be desired, and the female star's voice was almost a whisper. The cousin's vocal range is supposed to be sooooo awesome, but I was still a bit let down. The same character in the movie "Carousel" had a much better vocal range and control. Nettie here had good diction with her mouth formed properly for the "o" vowels, but Billy's mouth was wide open and not indicative of this singer's supposed strong vocal training and operatic experience. We cannot compare present-day singers to the originals, BUT long live John Raitt, Gordon MacRae, Jan Clayton -- kudos and best wishes to that awesome Shirley Jones.
Jigger was too scary. Billy was too beefy, and his pants too tight. The carnival guy dancing with Louise made sexual moves upon her that I did not remember from the movie; this was uncomfortable to watch. The women's clothes were too colorless.
Now for the good parts: Louise's Ballet (Beach Ballet?) was just beautiful, and so divine. Louise's pink dress was just so sweet, and her figure just lovely. She danced so heavenly (Heaven's Ballet?). When she danced with the carnival guy, I thought that that was just the greatest. (You see "just" here a lot, but I can't help it.) When he started lying on top of her, writhing on the beach, I about lost it.
The issues: Domestic violence, poverty, lack of education, death . . . Billy hit/beat Julie, and she didn't feel it. She should have put his arse in jail. This still teaches a lesson: hit him back -- even get a lesson in female self-defense from that scoundrel Jigger (not!). Julie, get a new husband who respects you and really cares about you. Don't pine away forever about a lout who had no education nor career ambition.
I loved Kate Burton as the carousel owner. I thought I recognized her. I had seen her on "Grimm" as Aunt Marie. Kate is a good actress, and her character really gave Billy a what-for. Her accent was a good try.
8/10
My mother and father made sure "If I Loved You" was played at my wedding. Father, like Billy, had already gone to that star-place by that time, but also like Billy, his presence was very much felt. This was my second and most important wedding, the one of recent decades; the first one was way earlier and with no musical accompaniment.
That said, I have seen and heard the original singing stars on YouTube and on their cast record album. They were fabulous, and their vocal ranges were powerful.
Vocally, the newest "Carousel" is a whimper. The recent Lincoln Center version was beautiful to view, and I loved the beautiful carousel horses suspended from the ceiling near the orchestra. The singing stars (names left out) were, I felt, nowhere near the vocal abilities of the originals. The male star's diction leaves a lot to be desired, and the female star's voice was almost a whisper. The cousin's vocal range is supposed to be sooooo awesome, but I was still a bit let down. The same character in the movie "Carousel" had a much better vocal range and control. Nettie here had good diction with her mouth formed properly for the "o" vowels, but Billy's mouth was wide open and not indicative of this singer's supposed strong vocal training and operatic experience. We cannot compare present-day singers to the originals, BUT long live John Raitt, Gordon MacRae, Jan Clayton -- kudos and best wishes to that awesome Shirley Jones.
Jigger was too scary. Billy was too beefy, and his pants too tight. The carnival guy dancing with Louise made sexual moves upon her that I did not remember from the movie; this was uncomfortable to watch. The women's clothes were too colorless.
Now for the good parts: Louise's Ballet (Beach Ballet?) was just beautiful, and so divine. Louise's pink dress was just so sweet, and her figure just lovely. She danced so heavenly (Heaven's Ballet?). When she danced with the carnival guy, I thought that that was just the greatest. (You see "just" here a lot, but I can't help it.) When he started lying on top of her, writhing on the beach, I about lost it.
The issues: Domestic violence, poverty, lack of education, death . . . Billy hit/beat Julie, and she didn't feel it. She should have put his arse in jail. This still teaches a lesson: hit him back -- even get a lesson in female self-defense from that scoundrel Jigger (not!). Julie, get a new husband who respects you and really cares about you. Don't pine away forever about a lout who had no education nor career ambition.
I loved Kate Burton as the carousel owner. I thought I recognized her. I had seen her on "Grimm" as Aunt Marie. Kate is a good actress, and her character really gave Billy a what-for. Her accent was a good try.
8/10
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