CAROUSEL (2018) Previews- Page 5

[theatregoer3]

Posted: 2/28/18 at 11:01pm

It’s out and I don’t have much more to say. Excellent orchestra, Joshua Henry’s Soliloquy was just as heartbreaking as any I’ve heard, Mueller was in great voice, Mendez was as funny as you’d imagine, but JUSTIN PECK! Wow!!! At one point during the big sailor number in act the cut out the orchestra twice so there was nothing but the dance moves and it brought a tear to my eye. Also Ryan Steele never gets enough credit for what he brings to a show. Wow.

[GeorgeandDot]

Posted: 2/28/18 at 11:04pm

What made Fleming the weak link?

[jbm2]

Posted: 2/28/18 at 11:04pm

What’s the running time?

[blaxx]

Posted: 2/28/18 at 11:06pm

I would like to hear more about how this compares to other productions, in terms of innovation and quality.

[phan24]

Posted: 2/28/18 at 11:06pm

Full thoughts: if you’re willing to suspend the sour taste that the plot leaves in your mouth, then this production is great.

Never thought I’d compare Jessie Mueller to Ben Dela Creme, but like the judges thought, I wanted here to be at 120%, and she only gave 100%. Her performance was great, but nothing that I’ll remember in the next week, and perhaps that’s just the size of the role which is deceivingly small.

My only complain is the sacrificing of great acting for great dancing, seen by the actress who plays the daughter in the end.

Overall in great shape, with need of very minimal tuning.

[BroadwayConcierge]

Posted: 2/28/18 at 11:07pm

Would love to hear how this compares to Hello Dolly in terms of production value (since I hold Dolly as the crème de la crème of all revivals).

[BeadleDeedle]

Posted: 2/28/18 at 11:10pm

I didn’t enjoy it very much at all. Henry is in fine voice but his acting felt very amatuerish. No chemistry with Jessie Mueller who, while also in great voice, seemed adrift without a strong scene partner to connect to. Lindsay Mendez comes off the best, making a great first impression with “Mister Snow” and some wonderfully specific comedy and dialect work. Alex Gemignani sounds great but with “Geraniums in the Window” apparently being cut his character had no growth or resolution.

The production overall just left me very cold, in design, direction, and (most disappointingly) performances. It feels like a mediocre regional production with above average choreography. I didn’t have exceedingly high expectations with Jack O’Brien at the wheel but I still left very disappointed.

Updated On: 3/1/18 at 11:10 PM

[ColorTheHours048]

Posted: 2/28/18 at 11:14pm

I’m going to be the voice of dissent here so far, but that was largely really tough to sit through. Thought the design was alternately cartoonishly bright and boring. I’ve rarely seen a R&H musical played with such low, amateur stakes. And not an ounce of chemistry to be found. The choreography- while athletic and fitfully exciting - is repetitive and feels unnecessary. Every time the dance ensemble was paraded out, I was reminded of the recent revival of On the Town, which similarly could have felt over-choreographed and outdated, but was absolutely thrilling.

The Carousel Waltz was a huge letdown for me. From the opening image (set in heaven, but looks like a group of Buddhist monks praying) to the NON-EXISTENT CAROUSEL, it sets the tone of muddy storytelling and underfelt/overplayed emotions for the whole evening. And not in a good way.

The positives: Joshua Henry, Renee Fleming, Jessie Mueller, Lindsay Mendez, and Alexander Gemignani are giving beautiful vocal performances. “Soliloquy” and every note that floats out of Ms. Fleming’s mouth are particular highlights. The orchestra mostly sounds incredibly lush, although I was distracted by what sounded like keyboard-generated harmonica drifting through the score. And the final ballet finds a gorgeous center of focus in Brittany Pollack, who dances like a dream. I wish Justin Peck had given all of his dance sequences the room to breath and exhilarate the way he does here.

Overall, a misguided production of an already problematic piece of theatre. Without the deeply felt earnestness, the sudden emotional shifts and flashforwards of the book fall flat and read as hollow. I didn’t care for it at all.

Updated On: 2/28/18 at 11:14 PM

[GeorgeandDot]

Posted: 2/28/18 at 11:15pm

The Geraniums section being cut(?) really is a poor choice. They absolutely need to put that back in. I would like to say that this seems to be the firat time the show has been put up infront of an audience. Hopefully, they'll use this preview period well.

[Mike66]

Posted: 2/28/18 at 11:19pm

To those who have seen the new production:  Are there any changes from the original production that reflect the concerns with domestic violence, etc.?  Wondering if those 'issues' have been addressed at all.

 

Thanks

[CATSNYrevival]

Posted: 2/28/18 at 11:23pm

They cut songs? I just lost any interest I had.

[BeadleDeedle]

Posted: 2/28/18 at 11:25pm

Louise still asks Julie if its possible for someone to hit you and it not hurt at all, but Julie’s response has been cut. It was awkward.

Ugh, I really didn’t enjoy this at all.

[wish i were here2]

Posted: 2/28/18 at 11:25pm

https://instagram.com/p/BfxEWPfngZa/

Updated On: 2/28/18 at 11:25 PM

[Michael Bennett]

Posted: 2/28/18 at 11:28pm

More than the songs, you should be concerned that they just obliterated the porch scene. Billy now slaps Louise....on the wrist. And gone is Julie's explanation to Louise that it is possible for someone to hit you and for you not to feel it.

 

Unforgivable. 

 

This, from the last revival, is essentially how that scene can work and be incredibly powerful. The entire evening for me was a blanched out bore. But I suspect I will be in the minority.

 

Joanna Riding in CAROUSEL

[theatregoer3]

Posted: 2/28/18 at 11:30pm

BeadleDeedle said: "Louise still asks Julie if its possible for someone to hit you and it not hurt at all, but Julie’s response has been cut. It was awkward.

Ugh, I really didn’t enjoy this at all. "

 

That scene did feel feel really rushed and weird. I didn’t realize they had cut the line until after the show had ended. I agree that Henry’s acting was flat. His vocals were great though. The set was brought g and not nearly as luscious as Dolly. Great lighting though!

 

[CATSNYrevival]

Posted: 2/28/18 at 11:32pm

All he had to do was trust the material. It's not that hard.

[phan24]

Posted: 2/28/18 at 11:33pm

[blaxx]

Posted: 2/28/18 at 11:33pm

wish i were here2 said: "https://instagram.com/p/BfxEWPfngZa/"

 

Eek! Wtf is that?!  That ugly. That not good. 

[WhizzerMarvin]

Posted: 2/28/18 at 11:34pm

The recent revivals of South Pacific and The King and I felt so fresh and alive and gay and young (and vital!). This revival of Carousel does not. Unlike the other R&H heavyweights, Carousel feels creakier; Hammerstein certainly loved his Mrs. Mullins book scenes, now didn’t he?

Of course, this production must be blamed for a good deal of the problems. While certainly elements spring to life, none of it really gets together at the moment. It’s missing that oomph and spark that it desperately needs, and hopefully will find.

Who would have guessed that I would walk out of Carousel saying Blow High, Blow Low was one of two highpoints of the night (the other being the Soliloquy). Amat Ramasar, a professional ballet dancer who plays Jigger, stole the entire show out from everyone during this number. I would say it got the strongest applause of the whole evening.

Josh Henry is great and he lands his big number. If you’re familiar with the Shirley Jones film version you’ll be shocked and disappointed with how small of a role Julie is in the stage version. She gets some numbers, but I bet if you counted lines Carrie is actually the larger role.

As for Carrie and Lindsay Mendez, this may be an unpopular opinion, but I thought she went too broad with the comedy. “He’ll carry me ‘cross the threshold, and I’ll be as meek as a lamb;” there is NOTHING meek about this Ms. Pepperidge! I guess it’s always easier to pull a performance back a bit than keep asking to receive more.

The orchestra is lush and wonderful. Thrilling to hear the score played by this pit.

The accents need lots and lots of work. Unless everyone is on the exact same page with this I say drop them. I know this something that could be worked on during previews, but it’s very difficiult to maintain the accents in both song and dialogue.

Someone asked how it compares to Dolly and it’s not even in the same ballpark. Dolly goes down like the buttered clams we hear sung about in act two here. The book remains delightful and the jokes and musical numbers still play like gangbusters. Carousel is a tougher nut to crack and will take all of the preview period to accomplish the goal.

[msmp]

Posted: 2/28/18 at 11:39pm

For those who both loved Renée Fleming's Nettie and those who felt she was the weak link, how was her treatment of "You'll Never Walk Alone"? I remember her singing it at the 2009 Inaugural celebration and I'm curious how she handled it in the context of a show rather than a multi-entertainer concert.

[theatregoer3]

Posted: 2/28/18 at 11:39pm

Whizzer hits it on the nose.

[ColorTheHours048]

Posted: 2/28/18 at 11:40pm

Thank you for mentioning the accents, Whizzer. They were universally terrible and not one was New England. The most obvious is Lindsay Mendez’s hard New Jersey accent - oof.

[QueenAlice]

Posted: 2/28/18 at 11:45pm

How did they do the opening?

Updated On: 2/28/18 at 11:45 PM

[bk]

Posted: 2/28/18 at 11:46pm

As always, hilarity ensues.  "It's amazing, doesn't need any changes." "I hope the creators don't think it's finished and that they'll change things." I love Fleming" "I don't like Fleming" "dance numbers are great" "dance numbers are nothing special" and on and on and on, and all at the first preview.  Mr. O'Brien seems to be past his expiry date - his Sound of Music was horrible.  I'd see this just to see it, but if they're changing lines and scenes to be PC I have zero interest in that bull crap.  Do the show as written, period.  Or do another show.

[Itonlytakesajourney]

Posted: 2/28/18 at 11:48pm

These costumes look incredible awkward; some of them are just okay and then others...who thought putting Billy in a 70’s-esque sweater and high waisted jeans was a good idea?? I’m cautiously hopeful about the production, but seeing actual photos and hearing about all the cut scenes is troubling.