The story, based upon a play by Ferenc Molnar, tells of a fairground barker, Billy Bigelow who falls in love with and marries Julie Jordan. Both of them fall out of work and, when Julie becomes pregnant, Billy, thinking he needs money, takes the risk of becoming involved in a robbery. He bungles the job and, in despair, kills himself. When he reaches the Pearly Gates, he is offered the chance to revisit his wife and his now teenage daughter by way of redemption.

The musical is located in small fishing community on the coast of New England during the last decades of the 19th century.

Carousel is one of Rogers and Hammerstein's pioneering musicals where they formulated and developed certain principles of their craft that elevated the popular musical to an art. Their first principle was that the book should be of paramount importance while the songs had to be an extension of the plot, fully integrated into the story rather than mere additions. All that we learn about the community and what the main characters think and feel is expressed purposefully and naturally by way of musical numbers. This principle is quite clearly demonstrated in Carousel. Their second principle was one of total sincerity. No matter what the events that occur in the plot, the nature and type of characters that people the story, or the principles that arise, they sincerely tried to adhere to what Hammerstein called 'the simple truths'. So what we have in this show is a complete fusion of book, lyrics and score and a painful story where the sentiments are honestly and truthfully communicated.

Director and MD must strive for a story that unfolds with smooth continuity ensuring that their response to emotion is entirely believable.

PRESENTATION

When imagining the atmosphere this show requires, an airiness that goes with the seashore, outdoor meals, space that seems endlessly eternal and even the breeze experienced on a roundabout come to mind. Act I speaks of blossoming trees and seashells while Act II suggests an ethereal, intangible quality - all of these features designed to crystallize the romantic love at the heart of the musical.

So what do we find when the curtain rises? An unidentifiable, meaningless construction that looked like the result of a nightmare, permanently in the middle of the stage! It would be interesting to know what this creation was supposed to offer the story, the location, the mood, the atmosphere of the show described above. Apart from its artistic unsuitability, no matter what other features were introduced such as suggestions of trees, fairground booths, boats, stars and so forth, this monstrous obstacle was always insuperably present in the centre of the picture. A designer should never position immoveable scenery where director and actors have to work around it. Miss Moore must ask herself:
Where is the most important position on stage and who or what should occupy it?

A variety of suitable properties were used in dressing the stage and by individuals.

LIGHTING

With the equipment at their disposal, the team could not be expected to distribute light fully over this hugely wide stage, but they were able to create suitable variety of mood and atmosphere in smaller areas. Romantic scenes were softly pinkish while some white light created an atmospheric 'star' scene. The conspiracy and robbery scenes certainly needed dimmer lighting. Cueing was prompt A thoughtful effort

SOUND & EFFECTS

Cloudy mist was produced in a subtle way and the image of the Pearly Gates helped create the location.

COSTUME

The tone of the happier parts of the show was echoed by the softly colourful costumes of the community. Principals were suitably costumed according to character and occupation. Formal clothing was appropriate particularly in the graduation scene and heavenly characters looked individual. The cottons at the clam-bake were absolutely right a most appropriate response to the location.

MAKEUP

Was acceptably natural and most women had made efforts with hairstyles.

STAGE MANAGEMENT

Appeared to be well organised and fully prepared.

ORCHESTRA

A fairly large and sensibly chosen band had been assembled to which the MD devoted her stick but not her eyes. She was able to create some good phrasing during the ballads and her tempi were well adjusted. Each time the adjudicator watched her, her eyes seemed to be fixed upon the score appearing to leave singers and dancers to look after themselves. Some needed much closer guidance particularly Billy in the Soliloquy, and the dancers in the lengthy ballet. With her experience she could try to look more obviously in command since the fact is that, once the curtain rises, it is she who is in charge of the show. Her gaze must be all- encompassing rather than appearing to be concentrated so intently upon the score - with which she ought to be wholly familiar - ready to modify the beat, to slow or increase the pace when singers and dancers falter. The opening dissonant chords ought to have come more confidently.

PRODUCTION

The group had selected one of the most complex and demanding of musicals, one that greatly challenges both director and cast. That the opening chords should sound tuned and firm was important since their dissonance signalled the tension and conflict we were about to see in the scene between Billy, Mrs Mullin and Julie. The action was fairly well synchronised to the music. As the plot unfolded, we noted Billy's readiness to become violent, the tenuous nature of the initial attraction between him and Julie, Mrs Mullins' jealousy and Carrie's protective and managing qualities. Bascombe needed to display more disgust when Julie refuses to leave. Carrie led us into the original mixture of dialogue and song that signalled a new departure for Rogers and Hammerstein who were able to create so many changes in rhythm and melody and integrate them expertly beginning with You're A Queer One right to the end of Mr Snow. The sequence had been very well rehearsed and was so beautifully sung and confidently led by Carrie with movement and action quietly subtle.

With so many strands to the plotting of this musical, Billy's situation becomes more complex. Apart from a reluctance to commit himself Billy betrayed nothing of his feelings during the preceding dialogue to If I Loved You or during the number itself. And, even afterwards, it was impossible to tell whether he had truly fallen for Julie or whether he was bent on seducing her. Such ambiguity was right in that it increased tension. The sprightly pace of the number tinged it with wry irony. It was delivered wistfully by Julie who understood her role in building and shaping the number. As the scene moved to the shore, suddenly a huge cast appeared for June Is Bustin' Out All Over which was performed in a smoothly sedate style when, with all the activity involved, it ought to have been bouncily swifter. Chorally, the number was delivered musically and with a good deal of precision. They captured the necessary vitality.

After Julie expressed her concern about Billy meeting Jigger we heard more of the imminent marriage of Carrie and Mr Snow in the reprise that led into dialogue between Carrie and Enoch Snow. While Snow was played with humble warmth, his role in the comedy episodes of the show was greatly under-developed. He could try to surprise us with his ambitions in regard to boats. The couple delivered a lightly amusing account of When the Children, not totally balanced but entirely honest, which came as a strong and successful contrast to the relationship between Julie and Billy who has refused to come to the Clam-Bake.

A stronger sense of location was emphasised in the male choral number Blow High, led, in a roughened style by Jigger, where there was a lively effort to create masculine energy in delivery. The chorus sang as under-scorers as part of the number and their balance was good. The Hornpipe was disappointing, performed rather insignificantly when its sense of fun and joy needs to act as a dramatic contrast to what followed as Mrs Mullins tries to break Billy's relationship. We must become aware of his yearning to return to the fairground and that Jigger's lures are beginning to register. When he heard of Julie's pregnancy Billy was surprisingly affected, leading into the show's biggest and most difficult number, Soliloquy. While he was able to capture a little contrast between boys and girls in his tone and manner, he evidently felt unable to soften sufficiently, or to feel entirely comfortable with the changes in emotion and tone, so tense he had become. His progress through the number was uncertain. He seemed scared of it yet failed to keep his eye upon the MD whose signals were never compelling enough. As an actor, he should have been encouraged to move freely and expressively and to relax as he delivered the lyrics, to pause for thought. But the structure, in whose shadow he was confined, inhibited such liberty. As the last exuberant notes of June (not JEWN please) died away, we saw Billy leaving with a knife in his pocket!

As Act II began, this time the monster was decked out with fairy lights and bathed in a red and bloody spotlight! The composer, however, indicates a languorous opening number in Clambake but the phrasing had insufficient breadth. It was harmoniously sung with an effort to colour the language of the lyrics in 'New England' accents. A difference of opinion between Carrie and Jigger took place amusingly with further comedy involving Snow. Because centre stage was unavailable, the blocking of Geraniums was incorrect. Jigger ought to have had a dominant position at one point and Snow at another as each has the thrust of the lyric. As the women tried to comfort Julie, she broke sweetly and tenderly into What's The Use of Wonderin' but overall, solo and chorus seemed to lack sufficient poignancy. Perhaps the touch was a shade too light in the circumstances.

The dialogue before Billy and Jigger's attack upon Bascombe was much too slow. A high point is built by quickening the pace and slowing only when the climax is reached. The director has to have feeling and timing. As John Gielgud said, "I understand it is the same in many walks of life." In fact, the climax was far too brisk with Billy dramatic death over in a second or two but, in any case, it was half-hidden and no gunshot several moments prior to Billy falling upon his knife was audible. Julie's 'Sleep' speech was moving before she broke into You'll Never Walk Alone which Nettie took up and delivered with considerable tenderness if not quite enough resolution. It was atmospheric, best when directed straight to Julie.

Billy, anxious and nervous about his place in the afterlife, arrived to meet a composed Heavenly Friend before singing The Highest Judge with the right attitude of submission, but desperate for another chance. After which, he met the Starkeeper. Quietly serious dialogue ensued before Billy, disconcerted by the time lapse, requested permission to return home for a day to assure his daughter of his love. A lengthy dance number illustrated many events and rejections in Louise’s life. The dance ought to have been greatly shortened because choreographic ideas and imagination were insufficiently inventive or original to sustain the number beyond two or three minutes. The director might have concluded that a specialist choreographer was essential for a dance of at least eight minutes. A graduation scene where Billy clumsily, but humbly, made every effort to communicate successfully with his wife and daughter climaxed with his interpretation of If l Loved You. We were able to see, and hear, the best of him in this number before the segue formally drew the musical to its final chorus.

THE CAST

CARRIE

Gave a delightful account of the role both in song, where her lightness of touch, her shaping and colouring charmed us, and in the warmth and affection of her all­-embracing characterisation.

JULIE

Is quite an intense actress which is what this part is about. Her focus on Billy was so strongly fervent. She could have been encouraged to become more impassioned. Because of nerves, her breathing was not sufficiently under control to enable her to complete some very long phrases on one breath. She could work to improve this. Her voice has character and she sings tunefully.

NETTIE

Showed a good deal of ability in this important singing role. Her voice is robust, absolutely reliable in intonation and she is able to colour it with effervescent vitality in a lighter number or elation and grandeur in a serious one.

BILLY

Certainly looked the part. His appearance, hairstyle, make up and costume produced an authentic-looking fairground barker. He played the role with serious intent, as sincerely as possible. The rhythms of the music foxed him at times, causing his timing to be off and his confidence to be affected. He needed a lot more support from the director and the MD. Indeed, it would have been acceptable had he talked his way through some of the soliloquy. Try to raise the eye-level so that confidence appears to be there. Could he have relaxed, he would have been most acceptable in the role.

ENOCH SNOW

While beginning somewhat gingerly, his confidence grew. He seemed to increase in stature. too, as the father of such a family. He needs to become much more inventive as he prepares a comedy part, using his imagination to help create a fully rounded, entertaining character in amusing detail.

JIGGER

Was able to roughen up his style so that Billy seemed slightly superior. Although never quite threatening enough, he sang he role tunefully and articulated crisply.

BASCOMBE

His delivery was sufficiently weighty and he had adopted an air of authority. But he was never given enough time and space to expand the role.

MRS MULLIN

Madly jealous and unpleasantly passionate in delivery she created the role with lots of aggression. She should have avoided melodrama with that fearsome laugh!

STAR KEEPER

Had the depth and resonance in his tone together with the gravitas and benevolence to convince us in the role.

LOUISE

Danced with grace and style, sustaining her part in the number with skill and stamina. Her acting was natural and appropriate

OTHER PARTS

This is a team that works together well in character and in song. Chorally, their offerings were lyrical and harmonious, beautifully under control. Their movements were as neat as this difficult acting area would allow while contributions as speakers and soloists added much to our enjoyment of the show. Those playing juvenile parts were extremely disciplined and they tried so hard with their dancing.

EFFORT, ORIGINALITY AND ATTAINMENT

It was a great pleasure to hear this wonderful musical so beautifully sung. The society is to be congratulated for finding the courage to take on the challenge of one of the greatest, but most difficult, of musicals. Their audience was well entertained.

Thank you for the kind hospitality extended to my companion and myself.