Carousel

[jo]

I will forever thank that enterprising theatregoer who filmed the verboten video of this concert


Jo

[jo]

Please follow the link for some more gorgeous (Hugh Jackman) photos...and the rest of the cast


newzcard.com/event/yoEuT/carnegie-hall-benefit-carousel-with-hugh-jackman-and-audra-mcdonald-2002-06-06


I am glad that Hugh made this particular SOLILOQUY as part of his one-man show!

Jo

[jo]

Sad...and hopeful!

[jo]

BWW interview with Ted Chapin, President and gatekeeper for the R&H Organization --

www.broadwayworld.com/article/BWW-Interview-Ted-Chapin-Discusses-CINDERELLA-SOUND-OF-MUSIC-Tours-Future-RH-Broadway-Shows-20151109

There are discussions on present and forthcoming projects...but this speculation sounds very interesting --

"This is in fact the second Broadway production of THE KING AND I that's happened on my watch," Chapin said, "so the next one that's kind of being thought about out there is CAROUSEL. There's nothing firm about it, but there's been some interesting notions, some interesting conversations. So I have a feeling that after THE SOUND OF MUSIC, probably the next one will be CAROUSEL."

Can they interest Hugh Jackman in the revival, as this has been a longtime film passion project of Hugh?


Jo

[jo]

The best known revival of CAROUSEL was staged in London and then moved on to Broadway. Per Wikipedia --

Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival.[57] As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.[59][60] Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel.[59] Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode.[57] Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances.[61] Patricia Routledge played Nettie.[62] Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad".[59] Clive Rowe, as Enoch, was nominated for an Olivier Award.[63] The production's limited run from December 1992 through March 1993 was a sellout.[64] It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994.[65]

The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994 and ran for 322 performances.[57][59] This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie).[66] The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch.[67] One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that."[

In the film remake that Hugh has talked about, he said that the script has been revised to contemporize the play. Was it the setting of the movie and/or the themes ( and their handling) that put a more modern touch to the material?

Unlike Oklahoma! which dealt with a historical fact ( the settling of the area) and cannot be placed onto a newer setting, Carousel is not time- and place-bound significantly. But it seems the issue of domestic violence is what bothers some people who object to some aspects of the play.

How will a potential film remake or stage revival revisit the material?

It has arguably the most gorgeous songs in any Rodgers and Hammerstein musical. I would put it up there with South Pacific in terms of the musical score. It has the most male-lead focus among the top R&H musicals. South Pacific which enjoyed a very successful revival at Lincoln Center is also time-bound and dealt with issues of racism among others. And King and I as well as Oklahoma! place equal focus on the male and the female leads. South Pacific and Sound of Music are probably more female-lead centered compared to Carousel.

Carousel's most recent outing was with Laura Osnes and Steven Pasquale in Chicago's Lyric Opera staging. However, I would like to see a more dramatic ( not just well-sang) contemporary version if this gets revived. Pasquale was well-praised for his singing in an operatic setting -- maybe he could be a front-runner for any revival, too? But is his box office draw ( Madison County) as well-established? And he failed to get a TONY nomination for Madison County.

Btw, thank goodness for that blurry tape which showed us a glimpse of Hugh Jackman in the Carnegie Hall concert--







Jo

[mamaleh]

Hugh may still do "Soliloquy" in his concerts, but I think the role of Billy has sailed off into the Sunset (as in Blvd., same fate). A film version of CAROUSEL would have been wonderful following his triumph in TBFO; it's a shame it never happened.

As to Steve Pasquale, he's doing an Off-Bway revival soon of THE ROBBER BRIDEGROOM, which I'm very much looking forward to. I found his absence on the list of Tonys noms the season before last inexplicable. Which reminds me, I remember some critic's saying that THE BRIDGES OF MADISON COUNTY, a financial failure, likely would have been a big, fat hit with Hugh in the lead.

Ellen

[jo]

It took Les Miserables 27 years to get filmed -- he could have been Enjolras in 1985 ( fairly close, even if he was just 17 then) but fortunately he was age-appropriate when the film adaptation came into being ( 2012)to take on the role of Valjean when he was 44 ( although he managed to look around mid-60's in the finale).

LOL - maybe they could cast a spinterish Julie ( late 20's) and a middle-aged and jaded Billy who has been around ( early 40's) - so it may not be too far off ...The stage is very forgiving, as it allows not just age-inappropriate casting but also color-blind casting


Besides, Hugh has too many film commitments ( Wolverine 3, Showman, Apostle Paul, maybe even The Odysseus) and maybe other stage plans ?

But who knows


Jo

[jo]

I have just seen a re-run of MAMMA MIA!...and I thought the casting of Amanda was refreshing!

But Meryl Streep was too old to portray the mother...and she looked it, too.


Jo

[carouselkathy]

I don't think it will happen, but I've always thought that "Julie" should be older. She's a spinster working at the mill, "weaving at the loom". The chances of a film being made in this day and age of blow 'em up blockbusters is not very likely to happen, but a stage version at the Vivian Beaumont might do well. They could film it for PBS. Do you hear me Bartlett Sher? Yes, they produced an excellent revival there in the 90's for which Audra won one of her Tonys, but I could stlll envision another with an older Julie and Billy. Kelli Ohara was very good in the Met concert version, but her "Billy" had no charisma in the role, even though he sang beautifully.

The 1956 film is sung beautifully by MacRae, Jones, and cast, but I have major problems with the over done and overly long "June is Bustin' Out All Over" dance number.
I also think that in this day of political correctness, "Billy" deserves some sort of Purgatory for his sins (like in the original "Liliom"), before he walks off with "Heavenly Friend". They also have to change the "not hurt at all" line.

[jo]

Kathy,


Yeah, they did go to town with "June..." in the movie version

Re the casting --

Mary Martin was 36 when she portrayed Nellie Forbush in SOUTH PACIFIC on stage...and she was 41 when she became PETER PAN! I doubt that Nellie was that old...and Peter, well ... <giggle*>

So...

I still have my copy of LILIOM ( I got it when Hugh had been announcing his plans for a film remake). Maybe they are thinking now of a more "realistic" and contemporized version?

In a revival at Lincoln Center, maybe Hugh could be considered? Plus if they introduce additional dancing numbers, such as for the scene with "Blow High, Blow Low" ( or maybe transfer some of the male dance routines from "June is busting...") ... or maybe even an abbreviated waltz for "If I Loved You"... that will suit Hugh even more! With that venue, we can also expect the lush orchestral accompaniment ( and even a mini-concert at intermission or for the overture) for this gorgeous musical score.

And in a revival of a famous work, Hugh need not be committed beyond 4-6 months?




Hmmm... how about Hugh and Anne Hathaway at the Lincoln Center?

Anne is in her early 30's now -- so that would suit a spinterish Julie, with a middle-aged Billy ( played by someone who is but does not look like 47 now, who is very charismatic, and who still looks gorgeous in a tight top such as what Billy wore in the film version and at the concert hall at Carnegie) smiley-happy036



PS: I have a confession to make -- I have only seen the movie adaptation but never a stage version of CAROUSEL! There is of course the blurry bootleg of Hugh's CAROUSEL concert at Carnegie Hall...but a return to the stage for this musical for him will be such welcome news! Although it was the artistic success of the Hytner London version of CAROUSEL which prompted me to see OKLAHOMA! in London a few years later -- nothing to do with a stage newbie in London ( I did not know him from Adam )...but my discovery and admiration for the talent has lasted longer than his own association with superhero movies


Jo

[jo]

The least known of Billy's songs ( how can it compete with The Soliloquy and If I Loved You?) -- but THE HIGHEST JUDGE OF ALL suits Hugh, too --

[carouselkathy]

Jo,
CAROUSEL doesn't have an overture. "The Carousel Waltz" is the prelude for the dialogue-free opening scene. "If I Loved You" is the centerpiece for the famous bench scene, but is also important in the "Louise Ballet", which connects father and daughter in the second act. Thus, it is usually danced to late in the show. Certainly there can be changes in a revival. R&H organization recently gave permission for new lyrics to "Something Good"in the national tour of THE SOUND OF MUSIC.

I'm still hoping for a stage revival of this for Hugh.

[jo]

Yes, it is the gorgeous "Carousel Waltz" which brings up the sense of great anticipation when the curtain opens!

"If I Loved You' -- it is a very poignant reprise close to the end, when Billy sings softly to Julie's ear, as she holds the star close to her heart --


Longing to tell you
But afraid and shy
I let my golden chances pass me by

Now I've lost you
Soon I will go in the mist of day
And you never will know
How I loved you
How I loved you



and at the graduation ceremony, whispers to Julie --

I loved you, Julie.
Know that I loved you

Ahh...


Jo

[jo]

Thanks to JackmansLanding for the photo link --

Why the R&H organization did not agree with many fans who wrote in to request that the concert be filmed is a puzzlement to me! They owned the property. If I recall right, it was a centenary celebration of Richard Rodgers.

That could have been (purchased and) viewed by so many to this day!


Jo

[jo]

Variety's review of the concert --

variety.com/2002/music/reviews/carousel-in-concert-1200549173/

Music
Reviews
Jun 9, 2002 5:35pm PT
Carousel in Concert
The rain was coming down in sheets on 57th Street, but the sun was shining inside Carnegie Hall on Thursday night, where a sublime cast was marking the midpoint in the Richard Rodgers centennial with an incandescent concert performance of Rodgers & Hammerstein's "Carousel."

By Charles Isherwood



The rain was coming down in sheets on 57th Street, but the sun was shining inside Carnegie Hall on Thursday night, where a sublime cast was marking the midpoint in the Richard Rodgers centennial with an incandescent concert performance of Rodgers & Hammerstein’s “Carousel.”

The known quantity here — but no less an attraction for all that — was Audra McDonald, the gifted Broadway star whose performance as Carrie Pipperidge in the Lincoln Center Theater revival of this show launched her career (and for which she earned the first of her three Tony awards). On Thursday night McDonald sang the musical’s central role of Julie Jordan, the mill worker whose doomed relationship with good-hearted ne’er-do-well Billy Bigelow is at the bittersweet center of the show.


McDonald did not disappoint (does she ever?). Julie is given two of Rodgers & Hammerstein’s most heart-meltingly lovely songs, the duet “If I Loved You” and “What’s the Use of Wond’rin’?,” and McDonald’s lustrous singing, both impassioned and restrained, gave them their full due and then some.

Director Walter Bobbie and John Weidman had trimmed away most of the book — in contrast to Encores!, this was a more staid concert presentation that concentrated thoroughly on the music — but McDonald also brought an appealing conviction to the dramatic segments that were retained. The awkward moment when Julie and her best friend Carrie (Lauren Ward) almost wordlessly acknowledge their diverging marital fortunes registered with real poignancy. Carrie was played with bright charm and a smidgen of lively sass by Ward, who was also in terrific vocal form.

Most of the rest of an in-your-dreams cast was filled out by Broadway names new and old, each turning in polished and effective performances in roles of varying sizes. Jason Danieley brought a robust voice and a forceful comic edge to the role of Enoch Snow, Carrie’s ambitious husband. Judy Kaye was in fine form as the earthy Nettie Fowler; her performance of “You’ll Never Walk Alone” soared, as it must.

Although he had minimal stage time, Norbert Leo Butz turned the nefarious Jigger Craigin into a satisfyingly complex and compelling figure. And Blythe Danner and particularly a pitch-perfect Philip Bosco added superlative non-singing support in their roles. The use of Broadway legend John Raitt, who created the role of Billy Bigelow in 1945, to present a brief introduction was a lovely touch.



The one unknown quantity onstage was Hugh Jackman, the Australian actor who shot to fame via Trevor Nunn’s “Oklahoma!” in London and has since embarked on a substantial film career. He is expected on Broadway in fall of 2003 as the star of “The Boy From Oz,” and as he illustrated last night, Jackman is worth waiting for.

He may not possess the dark-hued, full-bodied baritone one associates with the role of Billy Bigelow, but his more high-lying voice is clear and firm, with a slightly nasal ping to it. He acts with natural ease and has charisma to burn. He met the role’s greatest challenge, the demanding “Soliloquy,” with impressive wit, intelligence and authority. The audience responded with rapture.



No less impressive than the vocal resources on display was the musical support. The Orchestra of St. Luke’s, conducted by Leonard Slatkin, brought out all the myriad richness of Rodgers’ music. “The Carousel Waltz” that opens the show in lieu of a traditional overture can rarely have been performed with this level of precision and verve, and Rodgers’ ballet music similarly proved to be a surprising musical highlight of the second act. Stripped of visual stimuli, it was possible to take in all the beauties of Don Walker’s orchestrations, as well.

And the contributions of the Concert Chorale of New York were no less invaluable; the culminating reprise of “You’ll Never Walk Alone” sent audiences out into the wet night with a glow that may not have kept their clothes dry, but certainly kept plenty of hearts warm.



Carousel in Concert
Carnegie Hall; 2,804 seats; $142 top
Production: A Carnegie Hall presentation, in association with the Rodgers & Hammerstein Organization, of the musical with music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, based on Ferenc Molnar's play "Liliom" as adapted by Benjamin F. Glazer. Concert adaptation by John Weidman and Walter Bobbie. Conducted by Leonard Slatkin, with the Orchestra of St. Luke's and the Concert Chorale of New York. Directed by Bobbie. Dance music arranged by Trude Rittman. Orchestrations by Don Walker.

Crew:

Cast: <b>With:</b> John Raitt, Blythe Danner, Audra McDonald, Lauren Ward, Hugh Jackman, Judy Kaye, Jason Danieley, Norbert Leo Butz, Philip Bosco, Eden Riegel.
Music By:

[jo]

Remember Janet ( aka Musical Mutant) from the other board ( TBFO Official Message Board) ?

[mamaleh]

I chuckle sometimes when in some interviews HJ seems to forget when he did the Carousel concert, He’ll say it was in 1998, when we know—better than he knows, LOL—that it was in 2002. Probably he was thinking about Oklahoma!.

Ellen

[njr]

Jun 6, 2020 20:09:24 GMT -5 jo said:

Remember Janet ( aka Musical Mutant) from the other board ( TBFO Official Message Board) ?

Yes, Janet is a friend of mine on Facebook. She and I also love The Beatles and Outlander!

Nancy

[jo]