Review by Cuchulainn

"Carousel"

Diamond Valley Singers and Eltham Orchestra

I have a confession to make: I've never liked Rogers and Hammerstein's "Carousel". I loved the music, but disliked the characters of Billy Bigelow and Julie Jordan or, more accurately, I disliked what they represented — ciphers of the way society conditions people into stereotypes that are either frustrating, predictable and unpleasant (like Billy) or tragically heroic (like Julie).

So it was a disarming surprise to read the program comments of assistant director, Graham Ford, that he'd never liked "Carousel" either, for much the same reasons. But, in his words,  "It was only when I came to join the directing team for this production that I realized the power of this great musical".

And that power is undeniable in this superbly-sensitive production, directed by Lynne Counsel. I found myself unable to resist the sheer emotion of the performances and, surrounded by sobbing patrons, I unashamedly wept for the lost potential, the unrealized dreams and the searing pain playing out on stage. At that moment, like Graham Ford, I also became a convert to the genius of this extraordinary musical, named best musical of the 20th century by Time magazine.

I've seen most of Diamond Valley Singers' musical productions and reviewed several of them. I've seen a steady progress and growth in this company over the years, but this production is a high-point, a breakthrough, in every way.

Perhaps the most compelling aspects of this were the almost-flawless performances of the principals, made even more remarkable by their youth. I can't recall a production with such a strong, accomplished, finely balanced and complementary ensemble of talent and skill (and impressive restraint). Not from Diamond Valley Singers and not from any other company, in professional or community theatre. Thrilling is the only word that adequately described it for me.

Gerard Schneider as the carousel barker, Billy Bigelow, is first perceived as an ignorant, handsome, womanising, macho stereotype who's personality is slick, boorish and repellant. But Schneider's performance brings another subtle, powerful dimension to the character: a vulnerability and self-doubt that keeps on shining through the hard veneer that life has imposed on him in his struggle to survive his early years. The way in which he succumbs to the sweetness and guilelessness of the naive — but iron-willed — Julie has a way of breaking down our initial resistance until, finally, confronted by the inevitable conflict between his two sides, his life-long conditioning triumphs and he makes a disastrous, impulsive life-choice that's as devastating for the audience as it is for Julie, now married and expecting their child.

We didn't weep for Billy, the carnival spruiker. We wept for the Billy we hoped would finally conquer the remaining vestiges of his old life and find lasting joy with Julie and their baby. We wept for Julie, whose love and determination kept her at his side, despite his frequent relapses into old ways. I suspect that we also wept for ourselves, for the frailties and foibles we all recognise in our own natures, and the lost promise of joy and fulfilment we could see on the far horizon for them.

We wanted so desperately for them to succeed and be happy.

Billy was utterly believable, and Schneider's singing and acting were brought to a stunning apex in Soliloquy, where he ponders aloud his feelings toward the future as a father, first of a little boy (My Boy Bill), then of a girl (My Little Girl), just like her mother. This is the turning point for Billy, and for us, in our feelings toward him. The compelling final phrase of this vocal tour de force confirms his transformation for us — but, ominously, also contains a glimpse of what will come next as this tragedy unfolds.

I foresee a stellar future for this young man.

Esther Counsel, as Julie, seems to have been raised to play the role. Tall, beautiful and talented, she brings a natural innocence and sensitivity to the role that makes you want to protect her from the heartache that you instinctively know lies ahead of her in the person of Billy. But her surprising willfulness and determination build steadily until the climax at the boathouse, and her pain and despair are palpable as she wraps herself in his lifeless arms before rising to meet the grim future with the heart-rending "You'll Never Walk Alone".

I'm sure others also wondered about the casting of this young performer when reading the program before the show. Leading roles awarded to children of a director understandably raise questions about the basis for judgement. Nepotism or merit? According to producer and Musical Director Ian Lowe, director Lynne Counsel was not involved in casting this role. It was awarded solely on merit by the audition panel in her absence. And, I have to say, in all fairness, that anyone witnessing her daughter's performance would be left in no doubt of this. Esther Counsel is a seasoned performer, despite her youth, and brings a sensitivity and ease to this role that's heart-warming, disarmingly natural and compelling, with a maturity, especially as the older Julie, that's totally believable.

I see good things for this young lady in future as well.

I should also mention the powerful "chemistry" between Billy and Julie on stage. It's unmistakeable — and it's sheer box office magic!

Their foils and comedic supports, Carrie Pipperidge and Enoch Snow, are every bit as credible and enjoyable.

Michelle Crupi as Carrie is enchanting as the less-complex (okay, dim-witted) best friend of Julie. This can be a risky role due to the temptation to play to the audience for laughs at inappropriate times. A delicate balance is required. Some of the dialogue requires genuine skill, empathy and artistic restraint not to destroy the dramatic impact or sensitivity of the scene, and I've witnessed some dismal failures in the past. Crupi has an excellent, warm voice and a delightful stage presence that win hearts and create spontaneous laughter. But she also displayed admirable restraint at crucial moments and delivered a performance that won me for both its exuberance and its subtlety. Outstanding.

Othon Charalambous is a classic lyric tenor who's a relative newcomer to music theatre. His arrival is welcome. As the uptight, ambitious Mr Snow (and Carrie's fiance and husband) he gives a terrific performance that ranges from the nervous suitor to the ambitous businessman to the stereotypical Victorian husband and father. His singing is strong, vibrant and enjoyable. Like the other principals, there's a reassuring confidence and masterful ease in his singing that does away with any doubts that he can reach the higher notes or sustain the lower notes, so we're free to relax and enjoy the performance — to soar with the singer to the heights and to swoop down to the lows and everywhere in between. For me, this is the cherry on the icing on the cake.

Minor principals in excellent voice included Judith O'Shea as Nettie Fowler (Julie's aunt), a strong performance of someone who provides insight, love and much-needed strength at important moments; Alan Flint as Jigger Craigin, a devious, skin-crawling lecher and petty criminal whose selfishness brings about several crises, and Loris McLean as Mrs Mullins, the carousel owner and jealous, would-be amoureuse of Billy who brings out the worst in Julie. All of them give strong, consistent performances.

Other supporting roles who contribute ot this excellent production include Brad Buckingham as Mr Bascombe, the up-tight mill owner and ship owner; Malcolm Wilton in the multiple roles of the carnival strongman, the genial Dr Seldon and the Starkeeper; Lucas Richter as the Heavenly Friend who escorts Billy through his after-life and one-day return to earth; Noel Rawson as the policeman (a delightful cameo) and Kevin Maynes as the Captain.

Cristin Adams played Louise Bigelow, the outcast daughter of Billy and Julie, with skill and care — a thoughtful, enthusiastic and sensitive performance that complemented the critical denouement of the story, which finally reveals the real Billy we knew lurked just beneath that false outer shell. Her dancing, choreographed by Susan Tan, lifted the finale beautifully.

The other Susan Tan-trained dancers provided colourful, energetic highlights to celebrations like the clambake and graduation, too.

Ben Geddes danced strongly in the finale as well. A small role, but an important one.

A highlight of any DVS production is the chorus singing. This is a singing group, after all, and chorus master, Graham Ford, and music director Ian Lowe, have coached both the male and female choruses with outstanding results. Other reviewers have remarked on the strength and vibrance of the chorus singing and I'm delighted to add my kudos to theirs. It's great to have outstanding songs for choruses to sing. It's even greater to have outstanding choruses to do them justice. Another highlight for me.

A major contributor to our enjoyment was the Eltham Orchestra, under the direction of Mary Wright. I may be wrong, but it sounded to me like the orchestra had more members than I recall from past productions, and that more younger players have been added. It was certainly the best accompaniment I've ever heard from this group. I particularly noticed the orchestra's contribution to the more poignant songs in the score. Beautifully played.

Attention to detail was an essential contribution to the show's success. Nothing intruded to distract the audience from the story or the performances. There are so many elements that combine to make a show thoroughly enjoyable and successful. Scenery, lighting, costumes and props, make-up, sound and backstage crew came together smoothly and unobtrusively to enhance the performances and add to the audience's pleasure. Well done to everyone involved. Your work was noticed by me because I was aware and looking for it, but one of the great ironies of any successful production is that the better these aspects of a production are, the less obvious they are to the audience, at least consciously. You should all feel satisfied and proud of your success.

In conclusion:

I loved this production. So did the audience. The enthusiasm, the sensitivity, the artistic retraint, the direction, the music, the youthfulness and sheer talent of the principals — everything. Given my scepticism and original dislike of ""Carousel", it was quite a revelation for this new convert.

If you haven't yet seen it, move fast. If you enjoy musical theatre, it's a show not to miss. But be warned — take LOTS of tissues! It's an emotional roller-coaster ride from a company bursting with life and excitement, led by one of Melbourne community theatre's finest directors.

Cuchulainn's Rating: ****+ (Four-plus out of five)

Cuchulainn
Neither fear nor favour

Season remaining:  10-11 July at 8 pm, 11 July at 2 pm at Warrandyte High School Theatre.
Production web site: http://dvsingers.org/carousel
Bookings: 03 9439 7843