BWW Reviews: New York Philharmonic Presents a CAROUSEL You Never Want to Get Off

Musically, "Carousel" is by far the most intelligently written and sophisticated of the entire Rodgers and Hammerstein canon. The story and some of the lyrics may betray just a hint of datedness, but not enough to undermine the brilliance of the work, even approaching seventy years after it was written.

When sung by a cast like the one seen last week on the stage of Avery Fisher Hall, the word masterpiece seemed completely appropriate and possibly even genius. I can't remember ever hearing the show sung by a more uniformly superb group of singers and the music sounding more sumptuous.

Billy and Julie's sad story is now well worn but Metropolitan Opera super-hunk Nathan Gunn brought a smoldering intensity to the role and a burnished, powerful voice, the likes of which contemporary musical theater simply does not provide enough of these days. Kelli O'Hara (an unexpected brunette for the occasion) simply can do no wrong these days; currently appearing on Broadway in "Nice Work If You Can Get It," and of course her Tony-winning take on Nelli Forbush in the recent revival of South Pacific. She brought a heartbreaking tenderness to the evening, and a voice like spun silver. The pairing of the opera singer with the musical theater singer seemed to mirror the odd coupling of Billy and Julie themselves, as two vastly different people from two vastly different worlds collide and fall in love.

John Rando directed the semi-staged production, and the New York Philharmonic, conducted by Rob Fisher brought a ravishing depth and warmth to the lushly romantic score. The stage was adorned by a large lighted sign bearing the title of the show, along with a small corral of Carousel horses suspended haphazardly from the ceiling above the stage.

The suggestion of a 1915 New England fishing village wasn't exactly achieved, but frankly with singers and musicians of this caliber, who cares! It was also a testament to the strong acting skills of the principles that only moments after the famous "Carousel Waltz/Overture," we were completely captivated and transported away by the two pairs of lovers.

Mr. Snow and Carrie were portrayed lovingly by Jason Danieley and Jessie Mueller. Shuler Hensley played Jigger as more ne'er-do-well than villain and the touch was a fresh twist. Vocally. few people on the operatic stage today (or on earth for that matter) have the power and passion of Stephanie Blythe, one of the world's great mezzo sopranos, but it was her subtly controlled singing and her magnetic, joyful exuberance that had her just about stealing the show. Ms. Blythe's "June Is Bustin' Out All Over," could not only be heard in the lobby, but probably across the street in the restaurants as well. How one can be that powerful and still have the vocal dynamics and sensitivity not to overpower the rest of the cast is a very rare talent indeed.

But the success or failure of any production of "Carousel" rests with our poor millworker and our braggart carney barker. Their unlikely attraction and awkward courtship are now the stuff of legend, due in no small part to the greatest single love scene in the history of musical theater. Remarkably, the entire scene remains fresh as the day it was written, and in the hands of Ms. O'Hara and Mr. Gunn, it was joyful, bittersweet and in an understated way, incredibly sexy. By the time they share: "If I loved You," near the end of act one, the entire audience was in love with both of them.

Ms. O'Hara shines brightest when she displayed Julie's shy side and her social awkwardness, giving the audience a welcome clue why exactly Carrie finds her so "queer." In addition, Ms. O'Hara brought a hint of melancholy to Julie that informed her fatalistic attitude. That wisp of sadness in her singing made her a far more complex Julie that we are used to.

Mr. Gunn has biceps, pecks, a mega-watt smile and charisma to spare. There's no difficulty in accepting Julie falling for this stud, irrespective of his violent tendencies. In his big number at the conclusion of act one is the make or break moment for every Billy Bigalow, and Mr. Gunn delivered the goods handsomely. The sheer power and gorgeous tone with which he sang raised goosebumps for their glorious aesthetic value alone. He did not sing the song as much as he commanded it, with a "ready-for-anything" sense of authority. However, while that is certainly (and often) welcome on the operatic stage, it doesn't always work in musical theater. In fact, at this most important of moments, he seemed to be missing a little bit of Billy's internal conflict and insecurity, some of the qualities that make him so empathetic and ultimately appealing.

In a bit of luxury casting, the legendary multiple-Tony-winner John Cullum assumed the roles of both the Starkeeper and School Master Seldon. He exuded charm and homespun wisdom in every one of his few lines, and again proved the old adage "there are no small parts, only small actors."

"Carousel" worked exceptionally well in its semi-staged format and will hopefully pave the way for similar NY Philharmonic productions in the future. Good news for those not lucky enough to be in the audience at one of the performances, the performances were taped for broadcast on "Live From Lincoln Center" this spring. Make sure to check your local PBS listings for the time and date near you.

Photo: Chris Lee/New York Philharmonic

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