Review: A Superb 'Carousel' Speaks to Our Divided Times

Of all Richard Rodgers and Oscar Hammerstein II's musicals, it makes sense that the Boston Lyric Opera would want to produce "Carousel." With its integrated musical interludes and free-flowing clusters of songs, it is the team's work that comes closest to opera, especially since it requires trained opera singers accompanied by a large orchestra to be fully authentic. Theater historian Ethan Mordden called it "Broadway opera," and the BLO makes a strong case for it in their revelatory production, directed by Anne Bogart, taking place at the Emerson Colonial Theatre some 80 years after the musical had its pre-Broadway tryout on that stage. (There are two more opportunities to see it before it becomes another ghost to haunt the theater: Friday, April 11 and Sunday, April 13. For more information, follow this link.)

Who knows what the experience was like seeing the show in 1945 when its themes of loss and redemption played out in the waning days of World War II to audiences dealing with death of loved ones. The show's original choreographer Agnes DeMille once remarked how the standing room at "Oklahoma!" (the team's earlier, massive hit) was filled with soldiers watching a musical that expressed the reason they were going overseas to fight. "Carousel" gave solace to the widows and family members of those who did not return, and it did so without treacly sentiment. Its most famous song, "You Never Walk Alone," may seem like a tidy homily that has become a cultural cliche, but its power in the musical's context remains undiminished as an expression of communal empathy, which, in the end, is what this show is all about.

But how do they make that theme relevant in a time when everyone seems to walk alone? Bogart's approach is to use a framing device, setting the show in a fenced-off, abandoned amusement park happened upon by a nomadic group who have appeared to wander in from a Cyndi Lauper video from the 1990s – lots of outré fashions in vivid colors that have nothing to do with seaside Maine in the late 19th century where the musical is set. (Sara Brown designed the evocative set; Haydee Zelideth the vivid costumes, and Brian H Scott provides its splendid lighting.)

Once inside the park, it is as if this group is intoxicated by the strains of "The Carousel Waltz," and act out the show – no longer nomads but a community where carnivals and clambakes, as well as violent outbursts, bring them together. Bogart reinforces this communal feel by keeping the cast onstage pretty much throughout, where they observe the action from a dilapidated rollercoaster that dominates the rear of the set. As they watch, they become one with the story and characters.

With a cast of some 50 performers and an orchestra of 49 (so large that it extends into the auditorium with the removal of the Emerson Colonial's front rows), the BLO's "Carousel" is larger than the original. Yet Bogart achieves an unusual intimacy with her terrific ensemble, led by Edward Nelson as a sexy, arrogant Billy Bigelow, and Brandie Sutton, as a strong, expressive Julie Jordan. Never has inarticulate passion been as eloquently expressed as in their prolonged duet "If I Loved You" (known as The Bench Scene), and their remarkable chemistry is one reason the show's final moments are so deeply touching. Nelson brings great vulnerability to his show-stopping "Soliloquy," and Sutton beautifully captures the resigned poignancy of "What's the Use of Wonderin.'" That song introduces what is problematic about "Carousel": Julie's resigned acceptance of Billy's abusive ways. It is acknowledged that he has hit her, but in his libretto Hammerstein all but vindicates Billy with the absurd notion she expresses that sometimes a blow can be like a kiss – a sentiment that bristles when heard today.

But as Bogart points out in her excellent production notes, "Carousel" is an artifact being presented as it was written, and it containing ugly anachronisms does not diminish its power to move. In adapting a Frederic Molnar's 1909 play "Liliom," Hammerstein Americanized it, not only by moving its setting, but improving it with an optimistic ending in which the troublesome Billy is redeemed by Julie's love. Coming at the time when America was achieving global victory, was there anything more American than the idea of hope and forgiveness? Hammerstein would later be accused of being overly sentimental – the cock-eyed optimist he would later acknowledge in a lyric; but in "Carousel," he balances folksy colloquialisms with deeper meanings that are richly resonant.

Another reason why this "Carousel" is such a memorable experience is the fierce commitment of its large cast. Along with the letter-perfect Nelson and Sutton, it features the wonderfully purpled-haired Jamie Barton as Laurie's Cousin Nellie, who bursts with joy as the community's life-affirming Earth Mother, leading a robust "June is Bustin' Out All Over" and a moving "You Never Walk Alone." Anya Matanovič brings warmth and humor to Carrie Pipperidge, notably with a gorgeous "Mr. Snow," and she's nicely matched by Omar Najmi, who makes her beau Enoch Snow far more personable than in other productions. Markel Reed makes a charismatic Jigger, the petty criminal who pulls Billy into a disastrous robbery, and Sarah Heltzel is menacingly effective as the Carousel owner who fires Billy, then longs for his return. Lee Pelton brings remarkable depth to the Star Keeper, the emissary from the other side who has empathy for Billy and allows him to return to Earth for the show's final scenes. And Abigail Marie Curran is electrifying in the second act ballet where she dances her frustrations as Louise, the troubled daughter of Billy and Julie. Shura Baryshnikov's distinctive choreography is seamlessly integrated, most notably the astonishing moment when the carousel is assembled in seconds during the final moments of the opening "Carousel Waltz."

What gives "Carousel" nuance is how even-handed Hammerstein was with his characters – even the less-than-admirable Jigger and Mrs. Mullen have a humanity that sets them apart from stock villains. It is that ambivalence – a striking lack of judgement that extends to Billy as well – that makes this musical so rich and complex. Add to that Rodgers' melodic wealth. While many of the songs have seeped into the public consciousness, Rodgers' use of musical recitatives and dance interludes make hearing it live a far richer experience than those found on its numerous recordings. Under David Angus' direction and the discreet amplification, the balance between the singers and the orchestra is carefully maintained. The fine sound design is by Steve Colby.

It is the conjunction of the many aspects of this sprawling production that transform it into an event. In her program notes, Bogart wonders if the ghosts of past productions of "Carousel" that have played the Emerson Colonial – which not only include the original, but the tour of Nicholas Hynter's stunning 1993 Lincoln Center/Royal National Theatre production – still haunt the theater. The BLO's take proves equally memorable. Try not to miss it before it too haunts the Colonial.

The Boston Lyric Opera's production of "Carousel" continues at the Emerson Colonial Theatre, 106 Bolyston Street, Boston, MA. For more information, visit the BLO website.

For an interview with baritone Edward Nelson, follow this link.