Threaded Order Chronological Order
| I went this afternoon (4/1) and Henry was the event for me. | |
| Last Edit: Delvino 07:42 pm EDT 04/01/18 | |
| Posted by: Delvino 07:38 pm EDT 04/01/18 | |
| In reply to: Further observations (spoilers) - aleck 09:55 am EDT 04/01/18 | |
|
|
|
| The production is acceptably workmanlike, generic in design (though I think many of Roth's costumes are quite lovely, except for Carrie's mostly unflattering set), and staged as if on the fly. It reminds me of the less interesting productions at Papermill or bigger summer houses, though this doesn't look cheap; just lacking that spark of a unifying design component. The direction just feels like about 8 days of blocking and then choreographed around. That's not good news. So much dance overflows, more than any recent take on this show; but little of it is genuinely thrilling. It's certainly wonderfully executed. But with that glorious score, those melodies, and so many adept dancers, one wants to feel a transcendent moment. Louise's ballet is fine, but it feels repetitive and lacking that same ... kernel of an idea that takes everything up a notch. But I must depart with many on the issue of Henry. I thought his Billy was the event, or perhaps has become the event: there's a reason they now drop the act curtain on his "Soliloquy": it is the moment in the show when you begin to feel "Ah, yes ... Carousel." I suspect Henry has used these or four weeks of previews to quietly build his character. If he was tentative or not sufficiently detailed enough the first week, he's found a grounding for the role. He's tortured and has managed to make even the aggression and violence feel part of his angst-ridden id. I thought the Starcatcher's presence, which many loathe, is starting to pay off. It's the only idea in the show, conceptually, and with Henry finding new layers, the device has some depth. Still, this is the most pallid reading of Julie I've ever seen. Mueller, vocally impressive, seems to disappear as the show progresses, as if the Snows just shoved her out of the way and took over. They should not. They are wonderful, but they could be pulled back a notch, and Mueller given a moment downstage center when we just ... how can I say it ... get to look into her eyes a moment. That sounds silly and easy, but Julie's face is literally missing in action. I wanted to check in with her, to see what she's feeling. She seems to be pushed around, to float backwards into scenes rather than find herself caught up in the action. She never seems to make a real entrance. Small thing, but it's proof of how poorly served she is by the lackluster direction. When she gets to one of my favorite songs, "What's the Use..." she doesn't have much underneath. It just comes out as a pretty concert rendition, no rue or acquired wisdom. Takeaway? I still felt the show's power, because this second act belongs to Henry's Billy as he discovers his daughter. The story is intact, and none of the missteps -- or more accurately -- lack of steps -- ultimately keep us from experiencing "Carousel" after all. Those holding tickets should not dread this production. If you've never seen this iconic show (unlikely to be reading this board), you will still find its magic. If you've seen it, you'll probably be fine skipping it. |
|
| reply to this message |
| re: I went this afternoon (4/1) and Henry was the event for me. | |
| Posted by: lowwriter 08:05 pm EDT 04/01/18 | |
| In reply to: I went this afternoon (4/1) and Henry was the event for me. - Delvino 07:38 pm EDT 04/01/18 | |
|
|
|
| How can Mueller be made so weak in this production? What is wrong with the director? | |
| reply to this message |
| She's introduced in quasi darkness, and Carrie is presented as the more important character. | |
| Last Edit: Delvino 10:53 pm EDT 04/01/18 | |
| Posted by: Delvino 10:51 pm EDT 04/01/18 | |
| In reply to: re: I went this afternoon (4/1) and Henry was the event for me. - lowwriter 08:05 pm EDT 04/01/18 | |
|
|
|
| It's that basic. The direction refuses to acknowledge that this young woman is Billy's life-altering love. She slips into the story, unobtrusively, rather than arrives. It's telling that no one notices how easily the production turns the story over to Carrie, and how readily Julie loses her agency. Nothing seems self-determined; she is attracted to this man, and then lets fate take over. But we spend too much time trying to figure out which woman she is on the stage. One of the three over the title stars. Lost in the action. Criminal. |
|
| reply to this message | reply to first message |
Time to render: 0.009786 seconds.