Rodgers and Hammerstein sure knew how to write a good
tune. Carousel, one of their most celebrated works, is positively full of
them, the score brimming with fairground waltzes, love duets, comic ensemble
pieces and, of course, “You’ll Never Walk Alone”.
Yet underneath it all is a dark story of redemption, fuelled
by domestic violence, murder and the helplessness of the female
characters. Carousel is a raw and emotional drama, something this production
from Morphic Graffiti seeks to emphasise and whilst the sudden shift to heaven
in the second act still requires a great leap of faith from the audience and
the ending is a little rushed, the company mostly succeed in creating a
gripping drama.
In part this comes from the reimagined setting. Shifting the action from its original 1875
setting to the Depression certainly lends the piece greater dramatic weight,
highlighting the themes of crime and the struggles of poverty. It’s these themes that still resonate with a
modern audience, proving its timelessness.
The set design, from Stewart Charlesworth, is gritty and industrial with
archways covered in rust and costumes smothered in grime and dirt, suggesting a
believable sense of realism that’s somewhat undermined by the fantasy of the
second act.
Problems do arise with the space at the Arcola. The set design may blend with the
surroundings, but the floor space is incredibly cramped for a musical. The cast size has been reduced and director
Luke Fredericks has intended to bring a sense of intimacy to the piece, but
during the bustling balletic sequences the performers are in danger of hitting
the audience with legs and sweat, let alone each other. And with audience placed on three sides, the
action is busy and constantly moving for all to see. It’s in moments where the drama is allowed to
breath, as in the stunning performance of the climactic “You’ll Never Walk
Alone”, that the production works best and soars to an emotional high.
As a whole, though, the drama is slow moving, each song and
dance predominantly serving as spectacle between scenes. On the flipside, the talented cast do revel
in these numbers. Of particular note are
Gemma Sutton’s soft and controlled soprano as the headstrong Julie Jordan, Tim
Rogers’ bullish Billy Bigelow and Vicki Lee Taylor’s comic timing as the cute
and bubbly Carrie Pipperidge. Most
impressive of all, though, is the exceptional ensemble dancing, choreographed by Lee Proud. Performing in such a small space is admirable, but the storytelling and sheer
technical ability of the cast in the balletic sequences is stunning. Musically, however, they do feel a little
empty due to the reduced orchestra; indeed the sparse arrangements overall only
highlight tuning and timing issues between the singers and players.
Although it might be a little rough around the edges, that’s
all part of the charm of this raw, if flawed, musical. After all, this fairground ride is no
fairytale.
3/5
Watch: Carousel runs
at the Arcola Theatre until July 19th.