‘Carousel’ is final jewel set in Summer Lyric Theatre’s sparkling season

By ALAN SMASON, WYES-TV Theatre Critic (“Steppin’ Out“)

It is perhaps most appropriate that for the third jewel in Summer Lyric Theatre at Tulane’s studded crown is Carousel, the Rodgers and Hammerstein musical celebrating its 80th anniversary this year. The old chestnut is always welcomed when it allows for all stops to be pulled out as this production clearly features quite remarkable singing, dancing and orchestrations.

But moreover it allows C. Leonard Raybon to return in glory to his favorite spot as conductor, baton in hand, as he guides some 25 seasoned musicians through their paces. After the season’s two earlier crowd pleasing productions of A Chorus Line and Company, he clearly was able to enjoy the time conducting rather than serving as the organization’s newly minted permanent artistic director following in the illustrious footsteps of Frank Monachino, Michael Howard and Michael McKelvey.

Equally as important is the return of Diane Lala as the work’s director and choreographer. What she does from the opening sequence of “The Carousel Waltz” is place her own imprimatur on this time-honored work and breathe new life into it. How she manages to link the music with the action on stage through her gifted eyes as a choreographer cannot be adequately described; it must be experienced.

Aside from the sheer mechanics of manipulating so many moving parts and coordinating them precisely with the music, Lala also elicits tremendous performances from her leads.

The heart of the story is that which deals with Billy Bigelow, the attractive carnival barker who unpredictably falls for the prim and proper factory worker Julie Jordan. Patrick Cragin is a formidable Billy with a rich, powerful voice that dominates the songs in which he is featured as a soloist, especially in the long and very tricky “Soliloquy” that closes Act I.

Tormented by his love for his wife and his inability to be able to provide for her and a baby slated to arrive, he is driven to make an unfortunate decision that will affect everyone he cares about. Based on Ferand Molnar’s tragic play Liliom, Oscar Hammerstein wrote Carousel with help by Benjamin F. Glazer. They took several liberties with the original plotline and reset it from a European spring in Hungary to a New England summer in Maine. Liliom was also depicted as a serial abuser of his wife, while the musical continually references Billy as having struck Julie once in anger and frustration.

As Julie, Melissa Campbell possesses a beautiful voice that compliments her lovely countenance and frame. She is a perfect complement to Cragin in their duet of “If I Loved You” and also stands in counterpoint to Grace McLean as Carrie Pipperidge in “You’re a Queer One, Julie Jordan.” Making her Summer Lyric Theatre debut, Campbell delighted audiences with Le Petit Theatre’s production of Beautiful: The Carole King Musical when she appeared in the title role.

McClean does an outstanding job with “Mister Snow” in which she regales Julie with all the facets of her relationship with Enoch Snow (Knox van Horn). Carrie and Enoch have their turn in the duet “When the Children Are Asleep,” a song intended to indicate the fisherman’s drive and intent to have a large family.

Lara Grice, who has thrilled Summer Lyric Theatre audiences for decades as a singer, uses the role of carnival owner Mrs. Mullin to show off her tremendous acting chops. While not carrying the musical through her singing, she does credit to the role of a weary, jealous woman who has been passed over by Billy for the younger and innocent Julie.

Ken Goode also has an opportunity to show his acting skills as he portrays criminal Jigger Craigin, who leads Billy astray in an ill-advised attempt at robbery. Goode is also seen in several key musical scenes with the town’s men folk in “Geraniums in the Winder/Stonecutters Cut It on Stone” as well as in support in several of the dancing segments.

Melissa Marshall, who is a veteran performer at Summer Lyric Theatre, takes hold of the role of Julie’s cousin and inn keeper Nettie Fowler, powerfully belting out the leads in “June Is Bustin’ Out All Over” and “You’ll Never Walk Alone,” the song that is reprised as the finale. Both Melissas – Campbell and Marshall – shine as bookends to the other in Carousel, giving a master’s class in how to approach each role musically with power and finesse.

The famous ballet originally set by Agnes De Mille is given a new and insightful adaptation by Lala in this production. She also dispenses with the Entre’acte, intending to speed up the progress of the book.

The dance sequences are brilliant and beautifully enhanced by the exquisite costumes designed by Glenn Reed and coordinated by Baylee Robertson. Wigs and makeup by Laurin Hart are also outstanding. The set designs by Rick Paul are minimalist, but extremely effective.

Additional dance performances by Eryn Short as Louise, Julie and Billy’s daughter, are also remarkable. Donavan Davis dances as her partner, representing her father and the terrible legacy he leaves for her.

Additional noteworthy performances are given  by Keith Claverie as the Heavenly Friend and Bob Edes, Jr. as both the Starkeeper and Dr. Seldon, the town’s doctor who addresses the high school graduation class with a commencement address. The ensemble is composed of more than 20 performers portraying the town’s people and carnival workers. They include highly regarded performers Aaron Brewer, Peter Elliott, Savannah Fouchi, Bailey Gabrish, Sasha Munchak, Susan Barrett Smith and Camille von Hoven to mention just a few.

Duncan Becker does an admirable job with lighting the Summer Lyric Theatre stage, while the sound design by David Rigamer was also quite good. The one exception was the single gunshot during the robbery scene that seemed quite muffled.

Summer Lyric Theatre at Tulane can be especially proud with all three of its productions this year. Contrasted with A Chorus Line and Company – both modern trailblazers on Broadway – Carousel gave the impression it would be stuck in the past with dated choreography and a book that offered little to engross its audiences.

As artistic director and musical director C. Leonard Raybon and his partner director and choregrapher Diane Lala have proved that wrong. This Carousel may well have outshone both of the two previous, exceptionally-rendered productions from earlier in the summer and left audiences with a new high standard that all future shows will be judged by. And, after all audiences are the highest judge of all.

Rodgers and Hamerstein’s “Carousel” (2 hours and 50 minutes with an intermission) opens tonight at Dixon Hall on the Tulane campus. Parking is limited and patrons are advised to arrive early. For tickets click here or call 504-865-5269.