Wonderful Classic, Flawed Production

Time Magazine called Richard Rodgers and Oscar Hammerstein’s “Carouselâ€� “The best musical of the 20th century,â€� and the  creators declared it their favorite show.  Produced in 1945, and based on the 1909 drama “Liliom,â€� by Ferenc Molnar, “Carouselâ€� is the most dramatic and compelling play Rodgers and Hammerstein created.  

   Its score includes such unforgettable songs as “If I Loved You,â€� “June is Bustin’ Out All Over,â€� “You’ll Never Walk Aloneâ€� and many other memorable numbers.  The show can probably be seen somewhere in the United States any day of the year.  

   Directed by Julianne Boyd, Barrington Stage Company’s founder and artistic director, the show has much to recommend it, but it is beset by a discomfiting flaw. Billy Bigelow, the central character, a barker at Mrs. Mullins’ carousel, is a swaggering womanizer who exudes sexuality to mask his vulnerability. Aaron Ramey has the swagger and the vulnerability, but the very important eroticism is missing. Naturally, this dilutes the relationship with the girls who surround him at work and especially with his wife Julie.  Ramey does bring dramatic intensity to his vocals, but that is enhanced by the music.  Some of his dialogue is delivered in a tentative manner that may be intended to suggest insecurity.  One does not have to like Billy, but his human weaknesses should evoke empathy.  

   His counterpart, Patricia Noonan as  Julie, brings a greater texture to her role. Whereas she Continued from page 6

is usually played as a sweet young woman with a strong mind, this Julie is feisty and fun-loving and exhibits that sensuality missing in Ramey.  Her voice is rich and her delivery is nuanced.  It is a pleasure to watch her.

   Boyd has made some interesting directorial choices. This version mines the light moments which are often overlooked in favor of the underlying drama.  For instance, Nettie Fowler is often played as a staid matriarch amongst the younger fishermen, whalers and their women. Teri Ralston brings vivacity and sauciness that makes Nettie more attractive and believable.

   Jigger Craigin (Christopher Innvar), the villain of the piece, is a whaler by profession and a criminal by choice.  However, he is costumed almost as a dandy, in direct opposition to either of his careers. The Heavenly Friend, and for some reason there are two of them, who escorts Billy to the Star Keeper, is played by a woman, which lends a softer quality to the role. Not to be sexist, but the stern guidance of male actors generates a much stronger statement.  Billy’s delivery of the last lines of the show, which should have the audience bawling, are almost bombastic. They ought to be intimate and simple.

   The comic leads, Sara Jean Ford’s Carrie Pipperidge and Todd Buonopane’s Enoch Snow,  play off each other sweetly.  Both of them have wonderful facial expressions and precise timing that finds the laughter. Christopher Innvar’s Jigger is sleazy as well as comic in the clambake scene with Carrie. As a whole, the ensemble’s energy keeps the show moving and entertaining.

   This production is well-paced and affecting. During many scenes, the audience was quiet and seemed moved.  Joshua Bergasse’s choreography is vigorous especially in “June is Bustin’ Out All Overâ€� and “The Hornpipe.â€� Music Director Darren Cohen is one of two pianists; in some of the numbers, especially “The Carousel Waltz,â€� the musical support is too thin.  At other times, the simplicity of the accompaniment enhances the songs.

   The set by Robert Mark Morgan uses simple pieces and props. The creation of the carousel in the first scene is very clever and earned a well-deserved round of applause.    

   Boyd emphasizes the fact that Billy has beaten Julie. This brings attention to the dark side of the play.  A program note and a special discussion on domestic abuse to be held on July 8 heightens the show’s focus on this problem.

   “Carouselâ€� at Barrington Stage in Pittsfield, MA, runs through July 11.  For tickets call 413-236-8888.

    

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