CARRIE THE MUSICAL to premiere in Los Angeles — Page 5

And it almost worked, really, though Debbie Allen's choreography was kind of preposterous. I guess I get why it flopped (or at least the logistics of the backers panicking) then but in retrospect it's really not such a ludicrous show. Certainly not deserving of such a dour makeover.

edit: I mean really, with the grunge? What is this, 1994 Seattle? And the Hallmark "scary teenagers" script? The book can do that because of King's qualities as a writer, but there's a reason DePalma amped up the high-school energy in his film adaptation.

Updated On: 3/16/15 at 10:38 PM

I saw the preview last Friday as well. Was seated stage left, second row from the top of the bleachers. The "flying Jesus," I thought, was tastefully done. One of the male ensemble members was lowered simultaneously with a cross (that is, he was not fixed to it) to portray a living crucifix. Scene was darkly lit. His presence did not draw away from the interaction between Carrie and Margaret below. I don't have experience with past versions of the musical but did not think the La Mirada production was in any way campy.

The balance of humor and horror is where the real genius of this story lies. Stephen King knew that, and so did Brian De Palma, who let Piper Laurie think "this has to be a comedy because it's so over-the-top" while she was playing Margaret.

By getting the audience to laugh as well as cringe, you turn the tables on them. If they're laughing at Carrie and her mother and Chris and Billy, etc., aren't they just as bad as those girls in the gym class?

Getting us to think, "this shouldn't be funny, should it?" is the perfect approach to the material, and not an easy balance to strike.

But that's the challenge.

By humanizing all the characters and removing the camp and comedic undertones, you take away the mirror pointed at the audience while they see (or read) this story.

That just tells me creatively you don't get it.

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"Carrie, the musical nobody ever got right, not once, not ever."

So basically, anything involving Diane Paulus and/or Carrie you'll just troll regularly.

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Updated On: 3/17/15 at 12:12 PM

I don't know, I think a lot worked in the original production. "In" was a barnstormer, as was "Don't Waste The Moon", silly lyrics aside. The big-group "Do Me A Favor" still rocks and I love the depiction of Chris as being almost obsessive, rather than an evil cartoon princess with a megamacho homophobic-but-probably-because-he's-gay boyfriend (ugh). The best thing the original did was be high-energy. It pumped right off the stage from the very first moments and came very close to actually flying and working on that higher level of amplified reality. Some of the numbers didn't work (I'm thinking particularly of that ballet number with the dress in act two), a lot of the lyrics are clumsy, and most the choreography was bizarre, but it's not like it was particularly poorly paced or not entertaining.

Sorry...double posted

Updated On: 3/18/15 at 09:43 AM

"a lot of the lyrics are clumsy"

A whole book could be spent deconstructing the lyrics to Carrie. "All we ever do is park/then for hours you grope me in the dark/We would go bowling if you really cared" (cringe)

My favorite Carrie lyric which would have been hilarious to keep in (from the title song) "Who's the one that said I should flop." Legendary Haha.

"Don't you know the Namo is the only correct one"

There has not yet been a production that worked, your raves in advance for the Off-Broadway production you never saw notwithstanding. People keep going to this and coming back and saying how this production doesn't work or that production doesn't work so I just like to remind people it has never been workable.

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I think Carrie could work as a musical. Just not this one.

Still, I think there are ways to improve this one.

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I know how much people love Chris Jones on BWW, so here is his review of the Chicago production. He's not too keen on the book and score, but he seemed to love the show.

he helps us mere delusional and silly people who have a difference of opinion to his see the light

Oh, that's rich! I'll have to hand it you, though. It takes a lot of nerve to attempt to snark someone by being so blatantly hypocritical.

I'll admit to being a huge Carrie fan. The original had problems, but it's such a fun listen, I embraced its faults. But the new version just took out so much of the fun in the score. The only change I liked was adding A Night We'll Never Forget.
Open your eyes to a new kind of 'Carrie'

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Matt - I think the fun of the original is really what hooked me. Obviously I didn't get to see it, but the closing night Broadway soundboard is one of my favorite musical recordings ever just for the energy and passion in the music and performance. I mean, I guess I get why it flopped, but it doesn't seem like it was THAT far off. You could probably restage it with some adjustments and it would play as a breezy, campy, showy throwback, if it weren't for all the flop baggage it has.

Also, how did the revised version inflate to two and a half hours? You could probably cut the original down to an hour and forty-five minutes without much sweat.

Some reviews have come in and they make me wish I went out for pilot season this year!



LA Times Review

Updated On: 3/20/15 at 11:37 AM

Photos from the show
https://www.broadwayworld.com/article/Photo-Flash-First-Look-at-New-Immersive-Production-of-CARRIE-THE-MUSICAL-Emily-Lopez-Misty-Cotton-More-20150319

Don Grigware's review for Broadway World
https://www.broadwayworld.com/los-angeles/article/BWW-Reviews-Impressive-CARRIE-THE-MUSICAL-at-La-Mirada-20150319