September 7 - 24, 2011
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| Rodgers & Hammerstein's musical masterpiece in a revolutionary new staging. featuring "June is Bustin' Out All Over", "If I Loved You", "You'll Never Walk Alone" |
| Billy Bigelow Julie Jordan Carrie Pipperidge Enoch Snow Jigger Craigin Nettie Fowler Mrs. Mullins Mr. Bascombe Timony Arminy Two Girls: |
| Costumes by Lighting Choreography by Production Stage Manager Directed by |
| CAST |
JOECASCONE
FINNIE JESSON
CAROLINE MORO-DALICANDRO
PETER LOUCAS
DAVID HAINES
RENEE STEIN
SUSAN SANDERS
ERIC BOTOSAN
DEAN ADEMA
HOLLY BURTON
ELIZABETH ROSE MORRISS
KATIE RICHARDSON
FINNIE JESSON
CAROLINE MORO-DALICANDRO
PETER LOUCAS
DAVID HAINES
RENEE STEIN
SUSAN SANDERS
ERIC BOTOSAN
DEAN ADEMA
HOLLY BURTON
ELIZABETH ROSE MORRISS
KATIE RICHARDSON
| Production Team |
| Louise Carnival Boy School Principal Heavenly Friend Starkeeper |
| and |
| ADAM BENATAR ALISA BERINDEA MIA BERINDEA REBECCA BRIELL KOBY LEE MAX LEE ZOE LEE ANDREW LONG DANNY SHATIL TIFFANY STUPKA PATRICIA BYRNE LEAH DEFFETT KERRY WILKINS |
September 12, 2011
Theatre review by Mark Andrew Lawrence
Rodgers and Hammerstein’s Carousel is a show full of unique challenges with its mix of dark romantic drama and
fantasy. Richard Rodgers created a score of near-operatic dimensions, and Hammerstein’s book and lyrics vividly
bring these characters to life. The Civic Light Opera Company’s production of this classic musical as staged by Joe
Cascone is beautifully executed.
For starters, this Carousel has an imaginative look. The costumes, designed by Sheila Lacasse are an ingenious palette
of sepia tones which, when accentuated by Gareth Crew’s lighting design create a highly appropriate sepia-toned look
for this late 19th century story.
The focused story-telling begins with the opening “Carousel Waltz” sequence, set at an amusement park where the
barker Billy Bigelow (played by Cascone) first meets the shy mill girl, Julie Jordan (played by Finnie Jesson.) These
two performers give such honest and natural performances that we are frequently left with the sense we are spying
on some very private conversations. This is particularly evident in the famous “bench scene” which introduces the
song, “If I Loved You.”
Jesson has a beautiful singing voice and brings a resigned sadness to her second act solo “What’s the Use of Wond’
rin’?” As Billy, Cascone chooses to downplay the character’s bullying still drawing audible gasps from some in the
audience when Billy behaves badly towards Julie, just as the authors intended. He also delivers a profoundly well sung
and acted version of the score’s famous “Soliloquy” which shows Billy’s softer side as he revels in the prospect of
becoming a father.
Caroline Moro-Dalicandro offers an invigorating performance as Julie’s friend Carrie Pipperidge. Her first act song
about her blossoming romance with herring fisherman Mr. Snow clearly delineates both her character and his. Snow
is portrayed here by Peter Loucas, who makes this very straitlaced man more amusing than irritating.
David Haines tries a similar approach to the villainous Jigger Craigin, showing the more juvenile aspects of the
character as displayed by his vicious barbs aimed at the Carousel owner Mrs. Mullin (played with a deliciously nasty
edge by Susan Sanders.) As Julie’s Cousin Nettie, Renée Stein delivers a stirring rendition of “You’ll Never Walk
Alone,” providing support for the grieving Julie.
The musical values are well taken care of here, and utilizing a two-piano arrangement adapted from the original
orchestration and well-played by Bruce Kirkpatrick Hill and Stephanie Martin, joined by bass player Jordan Quinn
who steps into the role of the Carnival Boy who romances Billy and Julie’s teenaged daughter, Louise (touchingly
played by Olivia Stupka) in the second act beach ballet. Here, once again, Cascone and choreographer Lesley Ansell
keep the dance focused on story and character development and the ballet is one of the productions many highpoints.
In short, this is an exceptionally well-acted and sung production of Carousel, and should not be missed.
Theatre review by Mark Andrew Lawrence
Rodgers and Hammerstein’s Carousel is a show full of unique challenges with its mix of dark romantic drama and
fantasy. Richard Rodgers created a score of near-operatic dimensions, and Hammerstein’s book and lyrics vividly
bring these characters to life. The Civic Light Opera Company’s production of this classic musical as staged by Joe
Cascone is beautifully executed.
For starters, this Carousel has an imaginative look. The costumes, designed by Sheila Lacasse are an ingenious palette
of sepia tones which, when accentuated by Gareth Crew’s lighting design create a highly appropriate sepia-toned look
for this late 19th century story.
The focused story-telling begins with the opening “Carousel Waltz” sequence, set at an amusement park where the
barker Billy Bigelow (played by Cascone) first meets the shy mill girl, Julie Jordan (played by Finnie Jesson.) These
two performers give such honest and natural performances that we are frequently left with the sense we are spying
on some very private conversations. This is particularly evident in the famous “bench scene” which introduces the
song, “If I Loved You.”
Jesson has a beautiful singing voice and brings a resigned sadness to her second act solo “What’s the Use of Wond’
rin’?” As Billy, Cascone chooses to downplay the character’s bullying still drawing audible gasps from some in the
audience when Billy behaves badly towards Julie, just as the authors intended. He also delivers a profoundly well sung
and acted version of the score’s famous “Soliloquy” which shows Billy’s softer side as he revels in the prospect of
becoming a father.
Caroline Moro-Dalicandro offers an invigorating performance as Julie’s friend Carrie Pipperidge. Her first act song
about her blossoming romance with herring fisherman Mr. Snow clearly delineates both her character and his. Snow
is portrayed here by Peter Loucas, who makes this very straitlaced man more amusing than irritating.
David Haines tries a similar approach to the villainous Jigger Craigin, showing the more juvenile aspects of the
character as displayed by his vicious barbs aimed at the Carousel owner Mrs. Mullin (played with a deliciously nasty
edge by Susan Sanders.) As Julie’s Cousin Nettie, Renée Stein delivers a stirring rendition of “You’ll Never Walk
Alone,” providing support for the grieving Julie.
The musical values are well taken care of here, and utilizing a two-piano arrangement adapted from the original
orchestration and well-played by Bruce Kirkpatrick Hill and Stephanie Martin, joined by bass player Jordan Quinn
who steps into the role of the Carnival Boy who romances Billy and Julie’s teenaged daughter, Louise (touchingly
played by Olivia Stupka) in the second act beach ballet. Here, once again, Cascone and choreographer Lesley Ansell
keep the dance focused on story and character development and the ballet is one of the productions many highpoints.
In short, this is an exceptionally well-acted and sung production of Carousel, and should not be missed.
| Pictured Joe Cascone and Finnie Jesson. |