PUP’s ‘Carousel’ hits a high note in song, but occasionally stumbles

In the second show of their season, Princeton University Players tackle a weighty Broadway classic, Rodgers and Hammerstein’s “Carousel,” which opened last weekend and runs through this Saturday in the Frist Film/Performance Theatre.

Set in a coastal New England town in the late 19th century, “Carousel” explores unsettling questions of abusive love and the possibility for redemption told through the story of the young and inexperienced Julie Jordan as she meets Billy Bigelow, an alluring carousel barker with a violent streak.

Director Francesca Furchtgott ’12 wisely scales back what could easily have become an overly ambitious production. She allows the actors and the music to create the story on a mostly bare stage, proving that you don’t need a large budget to produce a musical from the Golden Age of Broadway, an era known for exciting extravagance, large set pieces, and elaborate costumes.

Furchtgott should have trusted this instinct and fully committed to a stripped-down design concept to achieve more cohesive storytelling. Unfortunately, the other production elements, namely the attempt at realistic costumes and the dramatic lighting, work against this minimalist approach and appear cheap and out of place instead of stylish and conceptual.

The show gets off to a clunky start with the opening “Carousel Waltz.” The abstract representation of the carousel with dancers in masks is a clever idea, but choreographer Ana Sollitto ’11 needed to curb the routine to accommodate the dancers who were less technically advanced. Sollitto’s choreography was executed with such varying levels of comfort and finesse that it distracted from the story’s unfolding.

The best part of the production is the cast’s talented singing. Lack of cohesive design, moments of clumsy staging, and awkward transitions are mostly excused by the impressive voices that make for a rather enjoyable night of musical theater.

Playing Julie Jordan, the ever-lovely Amy Vickery ’12 shines in her musical solos, showcasing an impressive soprano in “If I Loved You” and “What’s the Use of Wond’rin?” However, she never fully confronts the darker complexities of her character’s abuse. This can in part be attributed to a lack of chemistry between her and Chris Beard ’14, who plays her lover, the volatile Billy Bigelow.

Furchtgott’s casting of Beard is especially problematic. Though equipped with a fine voice, Beard’s youthful countenance and boyish demeanor make for an unconvincing Billy, who should be dangerous, seductive, and prone to violence.

Costume designer Kerry Brodie ’12 did not help Beard by dressing him in a clean, tucked-in red turtleneck that made him even more of a cute schoolboy rather than an alluring bad boy.

On the other hand, Kemi Adegoroye ’13 is terrific as Carrie Pipperidge, Julie’s loyal best friend. Her subplot romance with stuffy fisherman Enoch Snow (played by an equally delightful Brad Wilson ’13) is a highlight. Adegoroye’s renditions of “Mister Snow” and “When The Children Are Asleep,” a duet she shares with Wilson, are superb.

Other standouts from the fine ensemble include a deliciously seedy Nick Genta ’11, in a lively turn as criminal Jigger, and Katie McGunagle ’14, as earthy carousel owner Mrs. Mullin who lusts after Billy.

Sweet-faced Carlie Robbins ’14 succeeds as Louise, Billy and Julie’s daughter who struggles to fit in. The second act ballet correctly showcases her talent, along with featured dancer Sebastian Gold ’14.

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PUP offers an earnest but mixed production of a much beloved Rodgers and Hammerstein musical. Despite uneven storytelling found in awkward staging and the indecisive direction concept, with excellent singers bringing to life an unforgettable musical score, you can’t help but leave the theater humming.

3 Paws

Pros: Romantic musical score performed by talented singers

Cons: Lack of cohesive direction and design, some miscasting