Lush melodies, rich characters and a heightened romantic state are the hallmarks of all the great Rodgers and Hammerstein musicals. But there is still something special about their timeless “Carousel,” a great emotional bath of a show that moves an audience more easily than any other piece of musical theater.
Maybe it’s the wishful closing premise — that it might be possible for the dead to return to earth for one day and correct mistakes made in life. Perhaps it’s the enormous personal sacrifices that its heroine, Julie Jordan, makes for love. Or maybe it’s just “The Carousel Waltz,” a piece of pitch-perfect theatrical music that captures in wordless form the joy we remember feeling when a carnival — and, by extension, the arts — offered escape from prosaic everyday lives.
“Carousel” is a national treasure. But there are few musicals that place more emotional demands on an actor or ask so much from a production. The professional houses in Chicago come back to this show every few years.
Taking the latest turn, the Drury Lane Oakbrook plans to run Ray Frewen’s revival through New Year’s Eve.
The bar on this show was forever raised during the last decade when Nicholas Hytner directed a definitive, post-modern version of the show for London’s West End, Broadway and a national tour. It played locally in Rosemont.
So influential was Hytner’s work that when the Candelight Dinner Playhouse revived this show as one of its last splendid productions, it borrowed the idea of starting the show in Julie and Carrie’s oppressive mill and contrasting the world of work with the charms of Billy Bigelow’s carousel.
By adjusting the book and shifting the power structure, Hytner also cleverly overcame the period show’s biggest modern problem — its tacit suggestion that a woman should tolerate abuse if she loves her man.
Given Drury Lane’s budgets and limited orchestra size, it’s not entirely fair to compare its show with Hytner’s.
Despite limitations, Frewen’s earnest and caring production still makes for an exceptionally well-sung and good-spirited “Carousel” that will not disappoint most folks. In particular, there’s a rich and resonant performance from Cory Goodrich as Julie. Marrying strength and vulnerability, her work is as good as you’ll ever see in this part.
As Billy, Brian Herriott’s huge, melodic voice nearly cracks the chandelier. But you cannot help wishing this clearly gifted performer would take a few emotional risks. On opening weekend, he barely captured the pain of his character.
Other chances were also missed. The show suffers from visual inconsistencies and blends summer-stock pieces with fanciful environments. There are some lovely drops but a rinky-dink carousel. The piece does not need big budgets, just a unified sense of style. With the usual wigs and no originality of conception, this design looks cobbled together.
More than anything, the Drury Lane “Carousel” needed more truth. With an intense emotional core in place, the splendid comedy of Jeff Dumas and Angela Berra (as Mr. and Mrs. Snow) would play much better.
With so long a run, this talented cast may eventually get there. Give them time before you go for a ride.
———-
“Carousel”
When: Through Dec. 31
Where: Drury Lane Oakbrook, 100 Drury Lane, Oakbrook
Phone: 630-530-0111
