‘Carousel’

A tragicomic hobbyhorse ride at Forestburgh – a review

By TOM KANE

FORESTBURGH, NY — “Carousel” is the darkest of all the musicals of Rodgers and Hammerstein. It’s also the most lyrical.

The darkness and the lyricism were well blended at the Forestburgh Playhouse’s production of the Broadway classical hit.

The first number, with the full cast suddenly squeezed onto the narrow stage as the curtain opened and the music accompaniment out of sync, revealed some opening-night jitters, but the company and the pit soon overcame them and went on to present a stunning and riveting rendition of the popular musical comedy that isn’t a comedy.

“Carousel” presents a hero who isn’t really a hero, either. In fact, he’s a lout. He abuses women. He woos them and then casts them off. He even hits them. He gets fired from his job as a carousel barker and gets his girl friend fired from her job. Somehow, he begins to feel something for her, marries her, gets her pregnant and schemes to rob money from a rich man so he can support her and his child. He is caught in the act of robbery and commits suicide rather than go to jail.

But that isn’t the end. In a unique scene from the “after-life,” Billy gets a chance to return and make up for his wrongs. He finds his daughter now in her teens and, in a characteristic, angry fit, hits her.

Does this sound like a possible lyrical plot from the pen of Oscar Hammerstein? It is if your collaborator is the ingenious composer, Richard Rodgers.

Rodgers transforms the sordid plot and weaves a wondrously musical score that gives lyricism a new name in the Broadway theater. Hit song follows hit song. They are: “If I Loved You,” “Mister Snow,” “June Is Bustin’ Out All Over,” “When The Children Are Asleep,” “Soliloquy,” “A Real Nice Claim Bake,” “What’s the Use of Wondrin’?,” and “You’ll Never Walk Alone.”

Wow! What a line-up of some of the greatest songs ever to hit Broadway.

As is becoming pleasantly habitual each year, Norman Duttweiler has collected an outstanding company of singers and dancers (Where does he get them?) who could brighten up any stage. “June Is Bustin’ Out All Over,” “A Real Nice Clam Bake” and “Blow High, Blow Low” were numbers that coursed through my blood and got my foot stomping. (I think I bothered the guy sitting in front of me.)

The highlight of the production is the soulful and bombastic singing of the semi-operatic “Soliloquy” by Ed Juvier who plays Billy Bigelow, the unfortunate anti-hero. Juvier was never better than here. Rodgers lays this majestic composition over a haunting, repetitious theme in the base register. He uses the same pattern in a number of other sections of the play without you really noticing it.

Juvier is sufficiently insensitive and cruel to his gullible and simplistic woman and then wife, Julie, sung by Trista Moldovan who impressed me no-end last summer with her sardonically brilliant portrayal of Billie Dawn in the playhouse’s production of “Born Yesterday.” In contrast here, she’s a pollyanna and an obedient, submissive girl friend and wife who sings with resigned and even bitter passivity the haunting ballad, “What’s the Use of Wonderin’.”

Playing a secondary heroine role, but no second when it came to singing, Theresa Swain portrays Carrie Pipperidge, equally as simple but luckier that Julie in choosing her man, Mr. Snow, played with self-righteous aplomb by Kevin Loreque.

The most mature and resonant voice is commanded by Mary Sheehan, singing the role of the motherly Nettie Fowler, who sets the pace with “June Is Bustin’ Out All Over” and later with the mournful and inspirational “You’ll Never Walk Alone.”

Not so obvious is the outstanding staging of director Ron Nash and the choreographer Richard Amelius. Their hard work is evident in the way the cast comports themselves. The versatile Amelius also plays the part of Jigger Craigar, a real rat with a good voice and a menacing stage presence.

Lori James, the dedicated proponent of local stagecraft in Sullivan County, plays the role of Mrs. Mullin with finesse.

You still have a chance to see “Carousel,” since performances will last until Sunday, July 25. For tickets and information, call 845/794-1194.