Incredible Fascination with the 1994 Production of Carousel (And general Carousel love thread)

I've been in love with Carousel ever since I can remember. I've owned the OBC since I was 8, but had known some of the songs long before then. I remember having the 1994 revival recording for a short time when I was 10 but sadly lost it on a train. I didn't remember much of it, except for one image that haunted me for years: Julie on the carousel with Billy standing behind her, looking into her eyes. The color, the pose, and the whole image of the entire carousel (with that mammoth Mulligan's sign) was just so incredible that it remained vivid for years.

Currently, I'm doing a directorial project where we have to do a scene from a musical of our choice. I decided to do the bench ("If I Loved You") scene. I think it's the perfect example of seamless integration of song and dialogue. However, I'm not a fan of the recording of the song from the OBC. As heavenly as John Raitt's voice is, acting is not his strong suit. Not to mention, it's not a complete recording of the scene. And though Gordon MacRae and Shirley Jones are great, the movie version is pure sanitized boredom. So imagine my luck and surprise when I find the 1994 revival in the mix at a Borders. I decided to buy it, and I'm glad I did.

The recording is simply lovely. Michael Hayden and Sally Murphy's vocals may not be as strong as the actors who proceeded them, but they're "If I Loved You" is so incredible all the same. Not to mention Audra McDonald's "Mister Snow" is perfection. The one real reservation I have is Shirley Verrett, but then again I hate almost every opera singer. The image is just as I remembered it, and the other pictures accompanying are just as breathtaking. So it got me interested in this production and I began investigating.

The production was a transfer from the Royal National Theatre in London where it starred Michael Hayden, who would go with the show to New York, and Joanna Riding, who won an Olivier Award. Frank Rich came to see the show and gave it a glowing review (especially for Michael Hayden). I'm not positive how the New York production was received, except for David Richards who gave it a very positive (if slightly reserved) review for the NY Times, practically orgasming over Bob Crowley's sets, yet oddly enough not impressed by Hayden. The production was nominated for 5 Tony Awards (all of which it won), including Best Musical Revival.

This is about as much as I, and many who didn't have the opportunity to see it, know about the production. I want to know more, though. A lot more. For anyone who saw the production or was living in New York at the time, what was it like? Richards describes how incredible and breathtaking the pantomimed prologue was, spending almost half of his review on it. Was it? What was the entire production like? How was it received by audiences? Did it have a big impact on the New York culture at the time? It must have had some, given that a whole scene from the Al Pacino movie "City Hall" takes place at the show.

While in London recently, I saw the current revival, which was incredibly underwhelming. Yet another example of how projected scenery does not work. In March I'm going to the Lincoln Center Library and watching the video there. But as we all know, a video is never the real thing. So I'm dying to know from those who were fortunate enough to see this production. Thoughts? Details? From what I've heard and the VERY little I've seen, it seems wonderful. Nothing can compare to a real life account, though. Anybody willing to share their experience?

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She's not on the (IMO, Vastly Superior) RNT recording, but if you can track down a recording of Patricia Routledge singing "You'll Never Walk Alone" is absolutely heavenly.

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I saw it on tour when I was 13 and it was THRILLING. It deserved allt he praise it got (though I remember there was some controversy among purists). I'm a HUGE Agnes DeMille fan so take this for what it is--I never thought I'd be able to handle the ballet being not the classic DeMille dream ballet (what a shame Rodgers' fighting with DeMille didn't allow her to restage the ballet herself for the movie--what we get is an aproximation sadly)... however Kenneth MacMillan's staging of the balle (was this his first musical? he died during the run I believe) was masterful. I BELIEVE it was performed on a Rodgers and Hammerstein tribute concert (or a Hammerstein tribute concert?) on PBS some time ago--but looking on youtube no one seems to have it

The 1994 revival recording's "If I Loved You" remains my favorite! When the orchestra comes in during Billy singing "I'd let my golden chances pass me by," I get chills.

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SporkGoddess-Funny you mention that, I get chills at the end of the number. Just after Julie says "Just their time to I reckon" and the orchestra comes in (or rather, stampedes in) with the final "HOW I LOVED YOU." Ahhhhh, I replay that moment constantly on the recording. And sondheimfan2, I'm particularly interested in the prologue. What can you tell me from what you recall? Most productions have the carnival with the carousel on stage with it going on throughout. The revival currently playing does the carnival scene and then goes into the carousel section separately. Do you remember how the '94 production did it?

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The famous ballet choreographer Kenneth macMillan also did ther prologue--i remember it being really exciting and that it showed the slow assemblage of a carousel--made out of people I think? I wish I remembered better.

http://www.amazon.com/Richard-Rodgers-Enchanted-Gillian-Anderson/dp/B0000CG8HL/ref=cm_cr_pr_sims_t BTW is, I'm pretty sure, the special that has the McMillan Carousel ballet.

Minor thread-jack: Which recording is better? The Broadway or London version of this revival?

Completeness is most what I'm looking for. Does the Broadway one have all the dialogue and everything the london recording has? I'd just get the London one, but i really want to have Audra...

And yes, anyone who has more recollections of the show, please share! This is a great thread!

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I adore Carousel. IMO, one of the best scores ever written. I saw the Carnegie Hall concert in 2002 with Hugh Jackman as Billy and Audra McDonald as Julie. I really wish that performance had been recorded. It was glorious.

I saw the 1994 Lincoln Center version. Your question re: how the opening sequence went. As I recall, it started on a nearly bare stage with the mill workers pounding away at their laborious jobs. When the music started, they left their jobs and the stage started to fill up with pieces of an actual carousel. By the end, the top part of the carousel descended and the whole set started to revolve, with the horses moving up and down and the entire stage lit up. In effect, the stage was the carousel in motion. It was breathtaking.

Although Hayden was hyped for being age-appropriate, he just didn't have the vocal chops, particularly in the Soliloquy -- that number should blow the roof off and Hayden did anything but that. And, IMO, the Julie was sub-par -- her singing, at least in the house, was very lacking. It was New York's first chance to see Audra McDonald and she deservedly went on to win the Tony for her performance as Carrie. Shirley Verrett was expectedly fine in You'll Never Walk Alone, less so in June is Bustin' Out All Over.

The real showstopper was the ballet in the second act. Jonathan Sharp was the boy and the two of them (I forget the name of the actress who played Louise) danced up a storm that had the audience roaring. I might add that they got the biggest round of applause at the curtain call. Why Sharp hasn't gone on to bigger and better things is beyond me -- he was in Rocky Horror some years later and (groan) Dance of the Vampires, but he was hardly showcased in either one. After that Carousel, I really thought he was heading places.

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I've had a weird fascination with this prouction since I was 9 or 10 as well...or rather with the Cast Recording, since that was really my only knowledge of it. The music is beautifully orchestrated and the actors have a perfect balance of acting and vocal prowess.

The thing that I was really addicted to was the CD booklet. The pictures of Bob Crowley's stunning sets mesmerized me. They still do really. He captured the New England feel of the period, but it felt fresh and epic. Its still one of my favourite sets to this day. In fact I'd say it was a huge contributing factor to my becoming a working Set Designer.

Please feel free to post pictures of the set. I haven't seen that many floating around online.

Akiva

"And Thomas Sheppard battled the R&H organization rather famously in 1987 when he produced a studio cast album for MCA with Barbara Cook and Sam Ramey. (The R&H people wanted to reteam Kiri Te Kanawa and Jose Carreras as a follow up to their SOUTH PACIFIC, so we can be thankful that Sheppard’s disc stopped that travesty."

My memory is that CBS (as it was known at the time) was going to produce the other recording, and it was to have starred Mandy Patinkin, not Carreras. As you write, the R&H Org was involved in trying to make the recording happen. Patinkin and Ted Chapin were very good friends going back to their college days. Michael Tilson Thomas was to have conducted the Sony recording.

Because Sony was balking at producing the Patinkin recording if MCA went ahead with the Cook-Ramey recording, it's true that the R&H Org tried to stop the MCA recording. What they ultimately did was refuse to allow MCA to use the original orchestrations. Once music has been recorded, even the rights holders cannot actually stop another recording, but they own things like the original orchestrations. This is why the MCA recording doesn't use the original orchestrations.

Also, MCA wanted to (and did) record the ballet music (though in new orchestrations). Because the ballet music had never been recorded before, the R&H Org was able to prevent them from issuing it.

Shepard discussed all this (as well as his feud with Sondheim) in an issue of In Theater. I wish I'd saved that issue. Perhaps you have it. If so, you can check about this. Perhaps I'm wrong, but I'm pretty sure that Shepard said the CBS recording was to have starred Patinkin.

The crazy thing was that Shepard had originally wanted Patinkin for his recording (which I don't think he mentioned in that interview, but which is mentioned in an article in the Times). But then I think Patinkin was going to do the CBS recording and Shepard had to find a replacement. And then everything fell apart.

But perhaps it's best that we don't have a recording of Patinkin as Billy Bigelow (except for the BBC radio broadcast).

Wow, I love that YT clip. Good singing and you really see the moodiness of Julie there, IMO.

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"I have seen those clips. In fact, the bench scene is one of the bonus features for the DVD of Broadway: The American Musical. Stupid documentary, but some great archival footage. Jan Clayton was never the one I was disappointed with. As I've said, John Raitt has a wonderful voice but he just can't act. I stand by that statement."

I used to think Raitt wasn't a very good actor, though I always loved that "Soliloquy" performance. But I no longer feel that way. Well, maybe he wasn't a very good actor, but he could give great performances nonetheless.

I suspect that left to his own devices, he could be very stiff indeed. Even at his best, he's still a little stiff and he's not what you'd call especially spontaneous or in the moment.

But when he was well directed, I think he could be great. I think that when he did the General Foods special, he still remembered a lot of what Mamoulian got him to do.

And he's so present. He has moments when he seems kind of stiff and a lot of it seems very pre-planned, but when he sings, he's so committed. I think he kind of becomes a great actor in spite of not being a good one, at least from the way we view acting nowadays.

And Carousel was the last of the Rodgers and Hammerstein to be completely unamplified. I bet that in the Majestic, his acting projected fabulously. You sure wouldn't want Michael Hayden to play Billy Bigelow in the Majestic unamplified. And I don't say that to put down Michael Hayden, who I didn't love but who wasn't one of the biggest problems I had with that Hytner production.

But I think it helps to look at Raitt from a different point of view than you'd look at someone like Hayden. Just as it helps Hayden if you look at him from a different point of view than you'd look at Raitt.

Some of the musical theatre stars from the '30s, '40s and '50s do look kind of stiff when we watch them on video and film. There are exceptions, like Alfred Drake, but I think those folks really did need to plant their feet and send it out there.

None of this is to say that you should change your mind about Raitt. But I think very powerful emotions come through in his performance, as does a real sense of the character and what happens for him moment by moment. It's a little "paint by the numbers," but powerful nonetheless.