Playwright: Richard Rodgers ( music ), Oscar Hammerstein II ( book/lyrics ). At: Lyric Opera, 20 N. Wacker Dr. Tickets: 312-827-5600; www.lyricopera.org/tickets; $29-$199. Runs through: May 3
The orchestra began the slow, haunting "Carousel Waltz"—that evocative Richard Rodgers melody channeling Mozart and Strauss—and the curtain rose ... and there was no carousel! Instead, there was a tawdry little carnival with a phony strongman, clowns and even—huh?—a ringmaster. People wore 1930s costumes, not the 1870s of Hammerstein's book. When a colorless small carousel finally materialized, the horses did not go up and down. For the next 10 minutes, the lilting waltz conveyed the sway and speed of a glittering merry-go-round in full stride—entirely at odds with what we saw—and I detested everything about this new Lyric Opera production!
Fortunately, it got better. By the final curtain I'd seen a show that was dramatically well-paced, never lagging or dragging through its considerable length, and musically played and sung to powerful effect. Strong men wept in their seats, as they should by the end of Carousel. Director/choreographer Rob Ashford and conductor David Chase, had a firm handle on the dramatic and musical essence of this tale of mismatched love and redemption. I even came to admire the simply outlined geometrics of Paolo Ventura's old-fashioned wing-and-drop scenic design, perhaps influenced by Japanese woodblock prints.
There always are problems with a Broadway musical in an opera house, and those problems are not specific to Carousel. Dialogue, even with sound design ( Mark Grey ) assistance, sounds as if spoken in a tile bathroom and much of it is lost. And the huge size of the opera stage hampers intimate scenes and rapid-fire comedy. My often-expressed view is that musical theatre doesn't belong in opera houses, but I won't dwell upon that here.
In fact, Carousel is at least half an opera, with a vast quantity of music demanding principal voices of operetta caliber or better. Several long musical scenes, such as the famous "If I Loved You" scene, are self-contained little one-act operas. Voices must be big but supple, and Lyric Opera delivers the goods ( as well as genuinely handsome looks ) in Steven Pasquale ( Billy ), Laura Osnes ( Julie ), Jenn Gambatese ( Carrie ), Matthew Hydzik ( Enoch ) and Denyce Graves ( Nettie ). Even baddie Jigger is played by an estimable singer, Jarrod Emick.
Among my reservations are Pasquale's lackadaisical dialogue delivery and even singing ( until he reaches musical climaxes, then WOW! ). Surely he and Ashford confuse Billy's lack of charm with lack of charisma ( which Billy must have ). And then there's the missed opportunity of the opening, and the essentially-meaningless 1930's costuming. If changing the time period reveals nothing new, then don't do it!
Take a whirl on this Carousel nonetheless for its musical and dramatic riches. They don't write 'em like this anymore, and rarely produce 'em like this.
