Out of everything that I had booked for this special week, THIS was the thing I was most excited to see. For two reasons: one, the show itself as I hadn’t seen it on stage before: and two because it was the first time I had been to the Regents Park Open Air Theatre.
It’s a stunning place first and foremost, giving a cosy atmosphere being shaded by the trees. Even the path to the toilets was covered in warm festoon lighting and the sounds of parakeets over head.
But they have been known in recent years especially to take classic works and reimagine them like you’ve never seen before, from their now famous Jesus Christ Superstar, to Evita, Little Shop of Horrors and more. Their production of Carousel this year has proved to be no exception.
Carousel was the second musical written under the Rodgers and Hammerstein partnership after Oklahoma, and Rodgers himself said before his death it was his favourite score he’d written. Traditionally set in turn of the century Maine, this production is relocated to a seaside town in Northern England, following the turbulent and doomed relationship between young factory girl Julie Jordan, and carousel barker Billy Bigelow. And it’s heavy.
Similarly to other R&H shows, they were ahead of their time, and in this show tackled the subject of domestic abuse. This is still a topic people find hard to discuss. For those who know the show, some lines have been taken out, including the one about a slap not hurting. Doesn’t sit well in 2021 now does it…
The cast was first rate, and fitted this particular production perfectly. In more ways than one (but the other one I will get to later), they all played their characters as down to earth people, and it was easy to connect with them. It may have been partly to them being allowed to use their own accents for this production but who knows.
Carley Bowden (Romantics Anonymous) had a strength behind her eyes that seemed like it was the one thing keeping Julie together, while as Billy, Declan Bennett definitely gave off the suaveness Billy shows in the beginning, as well as the despair he feels when he (pardon my French), realises he’s cocked up big time towards the end. He may not have the most powerful voice for the Soliloquy for example, but it’s definitely a performance that makes want to see what he’ll do next.
For the ensemble cast, Christina Modestou (RENT), brought the comedy as a Carrie Pipperidge from the Welsh valleys, but the true honour for me was watching musical theatre legend Joanna Riding (Flowers for Mrs Harris) perform in person. From playing Julie in the now legendary production at the National nearly 30 years ago, Riding now takes on the no-nonsense Nettie Fowler. Her performance of the classic You’ll Never Walk Alone nearly brought me to tears.
As well as this stellar cast, we need to task about the choreography by Drew McOnie. Like the town the show it is set it, it is hard, earthy, strong and passionate with no nonsense.
From the
Carousel Waltz when we get an idea of this town’s people and culture all without saying a word, to the sea shanty
Blow High Blow Low, to Louise’s stunning ballet solo in the second act. It takes your breath away.
In fact, the styles performed by the male and female performers, and their conflict during multiple numbers reminds me of a lyric from Grandma’s Song in Billy Elliot:
“Women were Women, and Men, they were Men”
The final general area I NEED to talk about before I burst with awe is the score. Now everyone knows this is one of Rodgers & Hammerstein’s lushest, but let me tell you something; you will never hear it like the way Tom Deering has again.
The opening sounds celestial, as if the night’s stars themselves are playing along. And then the brass band comes in. The perfect musical nod to the area they are representing, it took my breath away. We hear banjo and guitar throughout, with nods to traditional English folk songs, Joni Mitchell and the Beatles. But there was even musical motif (in
Clam Bake I think) that reminded me of
Chicago.
They also lowered the keys for a lot of the material. Now this is been the subject of a bit of controversy, with some on Twitter crying “sacrilege”, but I think this worked for two reasons. One, it suited the setting of the production itself, and two, because it gave this company, who may not traditionally be able to physically play these parts, a chance. For example, take my vocal range, I would not be able to play Julie Jordan because the range needed for her is too high for my comfort zone. (Could maybe do Carrie but not traditionally Julie.) however, I COULD have played THIS Julie.
I called out for this on Twitter, but I will call it out again - this production needs a cast album so these arrangements can be preserved for us all. Come on team, make it happen!
I have absolutely loved my first experience at Regents Park and cannot wait to be back! Carousel was stunning and I cannot wait to see what they do next year. I also loved getting to meet another member of the theatre tribe, who has been working in the theatre as an usher during the summer.
I also implore you all to visit this stunning theatre. And piece of advice is to go in the evening if you can. There was something about it being dark by the time Carousel started that added to the etherealness of it all. It’s also where I think you can get the full experience of the theatre best, particularly the lighting.
See you next year 🤞
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