Bloomington Civic Theatre has done a wonderful job of mounting Carousel. Any revival of this too-rarely performed classic must invest its production with total confidence in the quality of the work, in spite of its old-fashioned book and contemporary criticism of the relationship between its romantic leads, Billy Bigelow and Julie Jordan. BCT's confidence in this work extends to the high caliber of actors in every role, direction that emphasizes characters and relationships, and the care lavished on the performance of this gorgeous score.

Carousel is based on Ferenc Molnar's play Liliom, reset from Hungary to coastal New England in the 1880s. Billy is the heart-throb carousel barker at a seaside amusement park. He and Julie, who works at the local mill, lock eyes and instantly know they are destined for one another. The jealous owner of the carousel, Mrs. Mullin, fires Billy for giving Julie too much of his attention; Julie in turn loses her job, for staying out past the curfew imposed by the mill-owned boarding house. The two marry, but with no money or prospects, tensions flare. News that Julie is pregnant at first cheers Billy, then provokes anxiety as to how he will support his family. He agrees to a plot hatched by his shady friend Jigger Cragin to rob the mill owner. Things go awry, Billy is cornered by the police, and in despair, takes his own life. He has not done enough good in his life to enter heaven, but he is allowed to return to Earth for one day to improve his record. Billy sees his now-15-year-old child, Louise, consumed in sadness. He resolves to plant happiness in her heart and heal the wounds in Julie's heart.

It is true that Billy and Julie's relationship is fraught with problems, far from a model marriage. Even in the 1880s context of the play's time frame, Billy's bullying behavior toward Julie, including striking her, is severely chastised by other characters, and not presented as just the way men treated women back then. Julie's best friend Carrie urges her to leave him. Billy himself is riddled with guilt for the hurt he inflicts on the woman be truly loves. That Julie tolerates it is a reflection of her times ... what choices did women have then? ... as well as the deep trough of her love for Billy. It may be disturbing, but that does not make it less real.

What makes this production exceedingly real are the exquisite performances of both leads. Dominique Wooten, as Billy, impresses both vocally (his background in opera readily apparent) and acting. He convinces us that Billy's outer swagger covers up a deep well of insecurities, and that his anger and impatience with Julie is misdirected self-loathing. He makes it evident that he does love Julie. His delivery of the famous "Soliloquy," the astounding piece in which Billy ponders what fatherhood will bring to him and demand of him, raises goose bumps.

Elizabeth Hawkinson, as Julie, is a young performer with a very bright future. She sings gloriously, especially the poignant "What's the Use of Wond'rin'?," and presents a Julie who has strength to balance her tenderness. She puts up with Billy, but is not a pushover. I look forward to seeing more of Hawkinson's work in the future. She and Wooten "If I Loved You," perhaps the most perfect musical love scene ever written, with complete conviction, trying their best to deny the feelings that will soon overwhelm them.

As Mrs. Mullin, Amanda Schnabel provides an air of desperation over the loss of her love object, Billy, even as she tries to use her financial advantage to win him back. Carl Schoenborn is a terrifically low-life Jigger Cragin. He gives "There's Nothin' So Bad for a Woman" a perfect reading, and in a scene between Jigger and Carrie, provides a welcome dose of comic relief. Kathryn Wurster performs well as Nettie Fowler, Julie's cousin who is lodging the flat-broke Julie and Billy in her seaside inn. She opens the joyful "June is Bustin' Out All Over," guiding it into a full choral and lively dance piece. She gives Julie a shoulder to lean on after Billy's death with the inspirational, beautifully sung "You'll Never Walk Alone."

The part of the Starkeeper, guardian of the gates of heaven who convinces Billy to go back to Earth for one day to make right the things he left undone, is usually played by an older gentleman, often a cameo part for an actor with a distinguished resume in his past. BCT made the brilliant decision to cast nine-year-old Natalie Tran, seen a few months ago as Cindy Lou Who in the Children's Theatre Company's How the Grinch Stole Christmas. Ms. Tran demonstrates genuine acting skill, convincing us of the Starkeeper's wisdom and authority.

Carouse offers considerable opportunities for dance. Indeed, the opening scene, "The Carousel Waltz," sets up the entire premise of all that will follow through dance, with not a word spoken. Like "Soliloquy," this piece is unusually long for a musical of its era, with complex shifts in musical theme. While the orchestra under Anita Ruth's direction performs beautifully, the dance in this opening feels tentative. It sets up the story that follows, but does not convey a growing well of emotion that is essential to Carousel. Fortunately, the scenes that follow make up for this slow start. The lively ensemble dances "June Is Bustin' Out All Over," and "Blow High, Blow Low" are choreographed by Michael Gruber to draw energy from the natural movements of these seaside denizens. The act two ballet, in which Billy observes his daughter Louise's heartache as she dances on the beach, is strikingly beautiful, due not only to the gorgeous music but also the graceful and emotive dancing of Megan Carver as Louise.

The physical production is simple, but it adequately creates the necessary settings for each scene to play out. The costumes are more elaborate, attentive to the era as well as distinctions in social class. The lighting helps greatly to draw focus to characters, and convey shifts in mood.

There is no getting around the fact that Carousel is an old-fashioned show. Its characters wear their hearts on their sleeves, it teeters on politically incorrect content, includes ballet sequences that have become passé, and—in spite of the dark themes—it drips with wholesome Americana. And yet, it remains beloved. What glorious music! What heart-breaking characters! What satisfaction in seeing that even a life of wrong choices can be redeemed! Carousel is a musical theater treasure. Bloomington Civic Theater can take pride in bringing such a polished production to Twin Cities audiences.

Carousel continues through May 17, 2015, at the Bloomington Civic Theatre, 1800 West Old Shakopee Road, Bloomington, MN. Tickets: $31.00 - $34.00. $3.00 per ticket discount for seniors, age 62 and up; $7.00 per ticket discount for ages 25 and younger. For tickets call 952-563-8375 or visit btacmn.org.

Music: Richard Rodgers; Book and Lyrics: Oscar Hammerstein II; Based on the play Liliom by Ferenc Molnar, as adapted by Benjamin F. Glazer; Director: Karen Weber; Associate Director: Alan Sorenson; Music Director and Conductor: Anita Ruth; Choreography: Michael Gruber; Set Design: Chad Van Kekerix; Costume Design: Ed Gleeman; Lighting Design: Barry Browning; Sound Designer: Dan Smeiska; Properties Design: John Schlagel; Technical Director: Chris Carpenter; Production Stage Manager: Sarah Perron

Cast: Megan Carver (Louise), Becca Hart (Carrie Pipperidge), Elizabeth Hawkinson (Julie Jordan), Hazen Markoe (Mr. Bascombe), Amanda Schnabel (Mrs. Mullin), Carl Schoenborn (Jigger Craigin), Joshua Smith (Enoch Snow), Natalie Tran (Star Keeper), Adan Varela (Dr. Sheldon), Dominique Wooten (Billy Bigelow), Kathryn Wurster (Nettie Fowler)

Ensemble: Neil Beckman, Brandon Caviness, Zach Garcia, Siri Hammond, Emily Jansen, Kayla Jenerson, Christian LaBissoniere, Lars Nisswandt, Dylan Olmsted, Madison Palmer, Melaina Rairamo, Chelsea Reller, Holli Richgels, France A. Roberts, Hailey Starr Sowden, Natalie Tran, Adan Varela, Lauren Warmka

- Arthur Dorman

Also see the season schedule for the Minneapolis - St. Paul region