When was the last time that a musical left you with tears of real emotion and pure theatrical power? Prior to seeing the new revival of Rodgers & Hammerstein Carousel, I couldn't remember any other musical I saw on Broadway in the past that left me crying as a critic with serious feeling. Even though the material premiered in 1945, this beautiful and thoughtful re-imagining of this timeless show feels ever so fresh and new as it was 73 years ago.
Based on Ferenc Molnar's play, Liliom, the story takes place in 1873 Maine. At the center of this plot is the romance between carnival barker Billy Bigelow (Joshua Henry, giving one of the best performances of the season) and millworker Julie Jordan (Jessie Mueller). One night, when Billy glides Julie around on the carousel, the sparks begin to fly. It's at that very moment that they fall instantly in love and soon, they became husband and wife. One month later, wedded bliss turns sour when Billy gets unemployed from his job and, even though it's unshown to us, hits Julie in a violent way. Julie tells this detail to her co-worker/best friend Carrie (Lindsay Mendez). Carrie, by the way, has a love of her own named Enoch Snow (Alexander Gemignani), who has dreams of selling seafood.
Billy soon becomes more desperate when Julie tells him that he is going to be a father. So, for the sake of his unborn child, he agrees to participate in a robbery with his friend Jigger (dancer Amar Ramasar, making his Broadway debut). But the robbery ends up in tragedy for Billy as he sacrifices his life so that he doesn't end up in jail. Billy then turns up in heaven and asks the heavenly Starkeeper (John Douglas Thompson) for a second chance so that he can try to put things right with one good deed. He also puts in a request to see his now-grown daughter.
As you can read from the show's synopsis, this is a rather dark musical. But it's a more timely one because of the show's treatment on the issue of domestic abuse in this current era of #MeToo/Time's Up. Judging by this revival, director Jack O'Brien handles this situation very wisely, especially in the show's second act. I was surprised to find out that two songs and a few of the show's text were cut out for this production, but this time for me, it didn't matter. Despite being a very tragic show, O'Brien and choreographer Justin Peck has happily made some lighter moments that will amuse many of the audience.
Making his Broadway debut as the show's dance director, New York City Ballet veteran Peck has created what I think is the most thrilling dancing you'll ever see right now on Broadway. You may feel spellbound especially by the ballet in the second act which features the dancing of NYCB soloist Brittany Pollack, who plays Billy's now-grown daughter.
The production is designed with a sharp, colorful look that hearkens back to the show's beginnings in the 1940's, thanks to Santo Loquasto's sets, Brian MacDevitt's lighting and Ann Roth's fine old fashioned costumes. Then, there's the still timeless score by the late Richard Rodgers and Oscar Hammerstein II. The music has not only features one of the best love songs in the musical theatre ("If I Loved You"), but it even has easily the best first act closer ever on Broadway (Billy's "Soliloquy") and one of the most finest songs ever to shed many tears out of audiences, myself included ("You'll Never Walk Alone"). Hammerstein's book for the show still holds up very well, despite being edited a bit.
As Billy, Henry gives a terrifically credible performance and in the "Soliloquy", he gradually shows a man who is proud as a soon-to-be father, but is being serious to take drastic measures to give his unborn daughter the best care she can get. Tony winner Muller (Beautiful, Waitress) is very engaging as the understanding Julie, both in her young and older years. Together, Henry and Muller make a wonderfully appealing couple.
In the show's supporting cast, Mendez is simply perky and full of comedic spunk as she handles Carrie in a young Rosie O'Donnell-like voice. Gemignani is very likable as Enoch and Ramasar make a well enough first impression as the mischievous Jigger. As Julie's cousin, opera legend Renee Fleming makes a supreme presence when she sings "You'll Never Walk Alone". It's impossible not to grab a Kleenex tissue at this moment.
In the end, you know that it's a tearjerker and a too adult musical drama. But it's more than that. It's a musical that is as touching as it is superbly alive. This is a show that I hated to see it end, but it left me in tears of joy. Don't be surprised if the same thing happens to you once you see it.
The Buzz on Carousel:
Rating: ***1/2
Bottom Line: A thoughtful and triumphant re-imagining of what was and still is today, a musical classic. Don't forget to bring Kleenex. Trust me. You're going to need it.
Recommended Best for: Ages 13 and up. Contains adult themes and situations. May be too dark for ages 12 and under.
Playing at: The Imperial Theatre on 249 West 45th Street (between Broadway and 8th Avenue) for an open ended run. For tickets, go to telecharge.com, todaytix.com/x/nyc, or call 212-239-6200.
Special Note of Interest: If you haven’t planned yet to get tickets to see Bernadette Peters in her brilliant performance in the hit revival of Hello Dolly, please do it now because she’s doing the show until July 15th. Then two days later on July 17th, the divine Bette Midler returns in the title role that earned her a Tony for a six-week encore engagement lasting until the show’s final performance on August 25th.
Also returning to the show on that same
day is David Hyde Pierce (of Frasier
fame) who before played Dolly’s comic foil/love interest Horace (currently
played by Victor Garber) and Gavin Creel (who is currently recovering from his
back surgery) coming back to his Tony-winning role as store clerk Cornelius.
Don’t wait much longer. With Midler back, it’s a sure thing that the box office
at the Shubert Theatre will be back into sell-out territory sooner than you
know it. Get you tickets as fast as possible to see this musical comedy classic
before it closes at the end of the summer. If you see it with either Peters or
Midler, you can’t go wrong with this one. Hello
Dolly is currently playing at the Shubert Theatre on 225 West 44th
Street (between Broadway and 8th Avenue). For tickets, go to telecharge.com, todaytix.com/x/nyc, or call
212-239-6200.
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