‘Carousel’: Reimagining the classic musical
In this staging, listening to “The Carousel Waltz” becomes an intimate, nostalgic experience due to the two-piano reduction of the orchestral score.
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In this staging, listening to “The Carousel Waltz” becomes an intimate, nostalgic experience due to the two-piano reduction of the orchestral score.
KARYLLE Padilla as<br />Julie Jordan in 'Carousel.'
GIAN Magdangal as Billy Bigelow in the Rodgers-Hammerstein II musical. | PHOTOGRAPHS COURTESY OF REPERTORY PHILIPPINES
Repertory Philippines' ongoing production of Rodgers and Hammerstein's Carousel, a "reimagined" staging by director Toff de Venecia, is part of the inaugural season of the new Black Box Theater of the Cultural Center of the Philippines.
The thrust stage, spare set and props, eclectic costumes, contemporary choreography, subtle atmospheric lighting, symbolisms in movement and theatrical devices, and the director's overall vision imbue this classic Broadway musical with a new spirit.
It's a fresh take, indeed, as the old meets the new. This minimalistic production is well-suited to the experimental space of the Black Box Theater and the (hopefully) adventurous taste of contemporary audiences.
To one familiar with the score, it's a struggle to refrain from singing along to the musical's beloved tunes such as "You're a Queer One, Julie Jordan," "Mister Snow," the romantic ballad "If I Loved You," the show-stopping "June Is Bustin' Out All Over," the Act I finale "Soliloquy," the pensive "What's the Use of Wond'rin'?," and the rousing anthem "You'll Never Walk Alone."
These numbers are excellently performed by the superb cast led by Gian Magdangal as Billy Bigelow and Karylle Padilla as Julie Jordan. The famous ballet is also a scene to watch out for.
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In this staging, listening to "The Carousel Waltz" becomes an intimate, nostalgic experience due to the two-piano reduction of the orchestral score. However, despite the compact production, some of the dialogue does come off as incomprehensible.
For some, musicals are just feel-good forms of entertainment. But Carousel, in its seeming simplicity, is in a class of its own because it resonates with issues that are still present in contemporary society, even when its milieu is Depression-era America.
Audiences may end up particularly disturbed by the depiction of domestic abuse. Billy implicitly hits his wife Julie at one point, and Julie makes an excuse for the abuse. When she is asked, "Has it ever happened to you? Has anyone ever hit you — without hurtin'?", Julie says yes: "It is possible, dear, for someone to hit you — hit you hard — and not hurt at all."
As if abuse is an expression of love! No wonder Carousel has been dubbed the "wife-beater musical." So, in approaching this piece, one may need to remember: Rodgers and Hammerstein's work is also a product of their time.
But one can enjoy Carousel however one wants. In the end, it's fairly certain that, at the very least, you will leave the theater with heart full and humming the soaring melodies of Richard Rodgers. Watch Carousel, and you'll never walk alone going home, indeed.
Carousel runs on weekends at the CCP Black Box Theater until 18 December. Tickets via Ticketworld, or call the CCP Box Office 8832-3704.
