CAROUSEL (2018) Previews — Page 7

bk said: "I'd like answers to two questions, if possible:

Am I understand correctly that Mr. O'Brien is using the movie version's framing device with the Starkeeper? If so, that is a horrible idea.

And forgive me, but everyone is going on about JUSTIN PECK and how it's JUSTIN PECK choreography as if that's supposed to mean something. I'm afraid I don't know who this person is. And if it's a lot flipping and athletics, that's not choreography, that's a choreographer begging for applause and attention because he has no concept of what dance is actually supposed to do in a musical.

EDIT: I looked him up - NY Ballet person - I get it. First musical. You would think coming from ballet he would understand storytelling in dance, but not from what I'm reading here. He simply looks like a young, trendy nerd to me, at least from his photographs. :)"



You only asked one question and then you start judging choreography without seeing it. No, you don’t “get it”.

uncageg said: "I have been so looking forward to seeing this. It is one of those shows that is on my must see classic list. Really had no need too see "DOLLY" until the current production and it is incredible. Was hoping the same for this.

I will ask.... There seems to be some cuts in this production. We're there cuts in Dolly? I want to see these classics as they were meant to be seen."

No cuts to Dolly, as far I'm concerned. If anything, the added Horace song (previously cut) and a longer dance sequence.

The Dolly revival is as the show is meant to be seen, in all its glory.

Updated On: 3/1/18 at 01:42 AM

I'm surprised by the posts by the musical mavens and some of the wanna be mavens. You don't know Carousel. The three major productions were choreographed by people from the ballet world. The original was choreographed by Agnes De Mille. The National Theatre production was choreographed by Sir Kenneth MacMillan. This production is choreographed by Justin Peck.

If you live in a musical comedy bubble, you probably don't know Justin Peck's work. Go to YouTube and watch clips. Yes, he kind of looks like a nerd, but his looks don't say anything about his choreography.

As for the comments about the dance in "Blow High, Blow Low," it's in the script which states "Hornpipe."

Did you like The Full Monty and Hairspray? Both were directed by Jack O'Brien. I'm not defending his direction for Carousel. At 79, he maybe a bit long in the tooth to be still directing.

As for comparing the current Hello Dolly production to this Carousel, Hello Dolly is pure fluff; Carousel is not. I like both shows. Sometimes I want fluff; other times, I don't.

BroadwayLuv2 said: "ameleigh said: "Yes. I’m in line now."

Thank you for goingand keeping us informed. I know I would appreciate any information on how your experience was this morning and if you had luck getting tickets. "

Front row orchestra center for $40

terrilovesNY said: "I have not seen rush information until your post, would you specify the rush policy?"

$40 I got orchestra front row center. I know there were orchestra sides sold as rush also.

As to Mr. O'Brien, yes, I saw The Full Monty and Hairspray. I also saw Getting Away With Murder and his recent The Sound of Music.

Well, they have a lot of time to fix the issues talked about on here. I am not seeing it until June, and I think that's a good thing. Great merch table though, huh??? Was that a mug I saw in that photo?

The problems with Justin Peck’s choreography have less to do with his background in ballet. We’ve seen evidence of great ballet-musical crossovers from Jerome Robbins all the way to Christopher Wheeldon who have created remarkable work for the musical stage. What Peck lacks is a connection to the story unfolding alongside his movement. The plot is full of darkness and brutality, but also softness and great vulnerability. None of these qualities are evident in the constantly fidgeting, angular, contemporary movement of his extended ballet sequences. Yes, it’s impressive; yes, the dancers are talented. But it’s all far too sterile and squeaky clean. As MB pointed out a few posts ago, why is everyone smiling so much? Why is Louise so utterly thrilled by her anguish of being an outcast? It’s just totally misconceived.

That’s an apt word to describe this production as a whole: misconceived. It’s the only reason I’m not entirely hopeful about its lengthy preview period. This revival feels bogged down by its very conception. No one has dug deep enough. And save for maybe a number or two being put back in, or a line here and there to perhaps clarify some intentions, this looks to be largely what we’ll see at the end of previews. The runtime may get tighter and some staging may get clearer, but this is a big disappointment, sorry to say.

Updated On: 3/1/18 at 07:02 AM

k said: "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."

True and it is typical. However, the lack of consensus among critics published on opening nights often makes the lack of it on bww (particularly in previews) pale in comparison when it comes to "hilarity."

Well of course there will be changes in a revival. New direction, new interpretation of a classic work. However, I feel you lose artistic integrity when you censor art and omit sections of a musical. Gernaniums in the Winder is important for Enoch and Carrie. The obvious cut lines are ridiculous, there is no reason for them to alter this work. And, I found, they had altered, added verses to, and rearranged numbers including the Carousel Waltz and Louise’s ballet (both which were choreographic letdowns), which I also don’t approve of. The Carousel score is beautiful, there’s just no reason to change it.

Sally Durant Plummer said: "The set is beautiful, though the Carousel is not a big spectacle moment - we only see the top of the carousel come through the ceiling, the actors dance in a circle below it."

Are there no carousel horses?

The only thing(s) that the current productions of Carousel and Hello, Dolly! have in common is that they're both revivals of golden age musicals produced by Scott Rudin.