Good Theater Celebrates 20th Anniversary with Ambitious and Affecting CAROUSEL

The current production of Rodgers & Hammerstein's CAROUSEL at the Good Theater represents the realization of a lifelong dream for Executive/Artistic Director Brian P. Allen, and the show that he has conceived and directed is both ambitious and genuinely affecting. Marshalling all the resources that this small company can command, Allen has created a chamber version of this 1945 masterpiece that preserves the heart of the tale and pays homage to what is arguably Rodgers & Hammerstein finest score.

Despite all the recent politically correct musings on "reclaiming," "reimagining," or - worse still -" revising" this story of a doomed romance between damaged and flawed protagonists that dares to introduces instances of domestic violence and gender stereotypes common to the period, Allen's forthright, compassionate reading of the book (based on Ferenc Molnar's play, LILLIOM) and direction of his cast demonstrates that CAROUSEL is a timeless classic that can speak for itself without apology - only appreciation.

As a director, one of Allen's many talents is his unerring ability to use the space and resources at his disposal in the most creative and dramatic way possible and to delve into the material and find the core of the characters and the heart of the narrative. Although the St. Lawrence Arts Center is a small space that mandates its own set of technical constraints, the visual production and the staging - not to mention the unamplified musical presentation - all come together to add to the intimacy of the production.

Using twin pianos located upstage (instead of an orchestra) and resurrecting the lush piano arrangements of Robert Russell Bennett, which Rodgers & Hammerstein commissioned for their own touring productions, the Good's production provides an authentic musical landscape. Musical Director Victoria Stubbs partners with Miriam Schwanauer to play the brilliant score in perfect harmony.

Space constraints affect the choreography, but Betsy Melarkey Dunphy finds creates solutions for the ensemble and achieves some lively moments in numbers like "Blow High, Blow Low." Nell Shipman choreographs the lovely second act dream ballet for Louise and Enoch, Jr., lyrically danced by members of the Portland Ballet, Lydia Wirth and Eugene Mesheryakov.

The visual production is elegant, simple, and attractive, making use of every available corner of the St. Lawrence. Set Designer Steve Underwood (Props, Heather Irish) conjures up the coast of Maine with silhouetted pine trees against a rear wall scrim,a weather-beaten boardwalk separating musicians from downstage, some rustic boxes, a side unit to suggest Nettie's cottage, and some jagged rocks so prevalent on the Maine coast. A fluttering curtain of golden stars hangs stage left adding the supernatural dimension to the story. Iain Odlin's lighting design successfully captures the colors of a Maine summer, while Costume Designer Michelle Handley provides simple period frocks and seaside casual wear for the cast. Technical Director Craig Robinson and Stage Manager Michael Lynch complete the expert team.

The seventeen cast members - largely of local talent - deliver a joyful and committed performances. Joel Crowley inhabits the role of Billy Bigelow with conviction and credibility. He is, by turns, cocky and vulnerable, catastrophically impulsive and hot tempered - a damaged soul who manages to find ultimate redemption. He delivers a robustly sung, psychologically perceptive rendition of the famed "Soliloquy." Jackie Grigg conveys the independence and quirkiness of Julie Jordan - both fragile and quietly determined. Her wispy soprano complements her portrayal.

Abbey Hutchins makes a pert and vocally pretty Carrie with a fine sense of comic timing, while Joseph Hitchcock portrays her fiancé Enoch Snow with a sweetly silly rigidity and navigates the high tenor of the role. Shannon Thurston demonstrates her strong vocal resources in her few moments, delivering a stirring "You'll Never Walk Alone." Colin Whiteman uses his bass effectively in Jigger's "Stonecutters Cut It on Stone" and portrays the character with an amoral jadeness. Jen Means gives an empathetic reading of Mrs. Mullin, while Glenn Anderson is a gentle, folksy Starkeeper.

In cameo roles David Bass Clark is an officious Heavenly Friend; Todd Daley a stern policeman, and Derek Kingsley a priggish Mr. Bascombe. The remainder of the ensemble - Rachel Lotstein, John Furey, Molly Frantzen, Alleah Sebrey - as various townsfolk - contribute to the overall tapestry.

"Unplugged and unamplified" (as the theatre's press suggests), the Good's production of CAROUSEL demonstrates the undiminished musical and emotional power of this musical. This may a story about imperfect people engaged in a fatal romance, but it is undeniably a story about love in whatever form that takes - and even more poignant - about forgiveness and redemption. In this brave and candid staging, CAROUSEL emerges as a musical for the ages with a tale that rings true and a score that is one of the canon's most magnificent.

Photos courtesy of Good Theater, Steve Underwood, photographer

CAROUSEL runs at the Good Theater, 76 Congress St., Portland from November 9- December 4, 2022 www.goodtheater.com 207-835-0895

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