Carousel, by Rodgers and hammerstein

Apollo Theatre, 25th - 29th April 2000

Perhaps because it is based on an old Hungarian folk tale, and has come via a rather morbid play by Ferenc Molnar, the plot of Carousel is not as seamless and well worked out as that of its predecessor Oklahoma. In particular, Molnar's ending, in which the main protagonist is led off to hell, was altered for the sake of musical audiences; the result is a rather bemusing and inconclusive climax to the drama. But aside from such considerations, Carousel is a good example of the qualities which have made the Rodgers and Hammerstein canon so successful. It is a great spectacle, with some catchy tunes, but it is more than this: dark overtones to even the happiest of scenes, and an almost depressing realism underlying the witty script, make the whole thought-provoking and often unsettling. Similarly, Richard Rogers's fine score is more than just a succession of hummable melodies and moving choruses; jarring, insinuating harmonies in numbers such as the famous "Carousel Waltz", and an almost Wagnerian use of leitmotif, enhance the sense of foreboding and general emotional complexity of the work.

Matthew White's production at the Apollo this week does justice to this classic work in almost every way, and is a truly spectacular evening's entertainment. The set is appropriately atmospheric, and visually exciting. The choreography (by Wayne Sleep) is vigorous, varied, and flawlessly performed by a talented cast - the act II ballet is a real highlight. Darren Day's rendition of the lead, Billy Bigelow, is slightly lacking in energy at times, but then this is quite in keeping with the apathy of the character. Moreover, Day's singing is constantly impressive: his performance of the famous act I soliloquy is genuinely moving. Indeed, the singing is of a generally high standard, although at times the clarity of the lyrics could have been improved. The only real disappointment is the use of a truncated orchestra, with keyboards taking the place of a string section. For a start, the amplification necessary creates problems of balance with the performers on the stage. But more importantly, synthesizers can never hope to reproduce the dynamic range or sweeping, emotive colour of a full string section, which are absolutely vital for the smooth flow and full emotional effect of the drama.

Nevertheless, this production is a real treat, and well worth seeing. Apart from anything else, it presents a good opportunity to discover that "You'll never walk alone" is actually a noble, stirring melody, and not just a tuneless shout, as the massed baritones of Liverpool Football Club would have us believe.

Matthew Rogers 25 / 4 / 2000