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Post by alison on Aug 22, 2021 21:09:51 GMT
Saw this last night, and absolutely loved the first act. I was very sceptical of this production from the start - as I posted on this thread months ago, I find Carousel a questionable choice of show to do these days due to the issues with the narrative, and I also wasn't convinced of the British reimagining and new orchestrations. But that worked brilliantly, with a heavy British-seaside nostalgia and nicely varied and rounded characters which never felt awkward taken out of their original American context. I also saw the 2018 Broadway Revival and this version is much stronger and fresher in so many ways. But then the second half of Act 2 (or, the traditional Act 2 - they've moved the interval here). Ugh. This reminded me why I don't think Carousel should be done. They seemed to hit a wall, cut all text which could be deemed inappropriate (which doesn't leave much to work with in the climax...) and didn't know where to go with it so just gave up, with Billy Bigelow literally just walking off stage and never coming back.I get what they were going for, and a final tableaux empowering women is nicely done and built to with a clever reimagining of the Starkeeper role. But unfortunately the production just dribbles to an unsatisfying and abrupt ending after an inventive and entertaining first 2/3rds.
Oh, they've moved the interval now? That's a big change - at the first preview it was right where it should be, after the June is Bustin' Out All Over reprise.
I liked the change to the Starkeepers, but the ending was so unsatisfying. I have another ticket booked for the final matinee and I still can't decide whether I even want to go.
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Post by fluxcapacitor on Aug 23, 2021 7:58:39 GMT
Saw this last night, and absolutely loved the first act. I was very sceptical of this production from the start - as I posted on this thread months ago, I find Carousel a questionable choice of show to do these days due to the issues with the narrative, and I also wasn't convinced of the British reimagining and new orchestrations. But that worked brilliantly, with a heavy British-seaside nostalgia and nicely varied and rounded characters which never felt awkward taken out of their original American context. I also saw the 2018 Broadway Revival and this version is much stronger and fresher in so many ways. But then the second half of Act 2 (or, the traditional Act 2 - they've moved the interval here). Ugh. This reminded me why I don't think Carousel should be done. They seemed to hit a wall, cut all text which could be deemed inappropriate (which doesn't leave much to work with in the climax...) and didn't know where to go with it so just gave up, with Billy Bigelow literally just walking off stage and never coming back.I get what they were going for, and a final tableaux empowering women is nicely done and built to with a clever reimagining of the Starkeeper role. But unfortunately the production just dribbles to an unsatisfying and abrupt ending after an inventive and entertaining first 2/3rds.
Oh, they've moved the interval now? That's a big change - at the first preview it was right where it should be, after the June is Bustin' Out All Over reprise.
I liked the change to the Starkeepers, but the ending was so unsatisfying. I have another ticket booked for the final matinee and I still can't decide whether I even want to go.
My apologies, they haven’t moved the interval. My hazy memory from the Broadway revival convinced me it came later, but after a quick revision on Wikipedia it looks like I was wrong and they’ve kept it where it was originally! I agree 100% about the Starkeepers. That’s a brilliant change which works really well and changes the dynamic completely. It just all falls apart as a concept and a narrative after that. |
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Post by alison on Aug 23, 2021 11:46:32 GMT
Oh, they've moved the interval now? That's a big change - at the first preview it was right where it should be, after the June is Bustin' Out All Over reprise.
I liked the change to the Starkeepers, but the ending was so unsatisfying. I have another ticket booked for the final matinee and I still can't decide whether I even want to go.
My apologies, they haven’t moved the interval. My hazy memory from the Broadway revival convinced me it came later, but after a quick revision on Wikipedia it looks like I was wrong and they’ve kept it where it was originally! I agree 100% about the Starkeepers. That’s a brilliant change which works really well and changes the dynamic completely. It just all falls apart as a concept and a narrative after that. Easily done - when I read your first post I had to go back and double check that no, I was remembering rightly where the interval should be. I think the most frustrating thing for me is that that second half of act two is SO unsatisfying as to ruin all the good work that’s come before. It’s not like I wasn’t enjoying the rest of the show - I really liked the orchestrations and thought most of the cast were fantastic. And yet I’m now not convinced I want to return. |
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Post by sfsusan on Aug 23, 2021 20:39:54 GMT
Thank you to everyone who explained the two different versions of Billy's redemption attempt. Heaven, definitely, has something else in mind, and this is for Billy to save his own daughter from repeating his behaviours. Isn't it really Julie's behaviors that Louise is repeating... being attracted to the charming but brutish guy? Or does Louise show violence herself (which I could well have missed/misinterpreted)? (Or is this another difference between this production and the original/traditional productions?) Even though this wasn't a play I particularly enjoyed on the whole, the fact that I'm thinking and talking about it weeks later means that it accomplished some of its goals. |
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Post by jaffe on Aug 23, 2021 21:39:48 GMT
Thank you to everyone who explained the two different versions of Billy's redemption attempt. Heaven, definitely, has something else in mind, and this is for Billy to save his own daughter from repeating his behaviours. Isn't it really Julie's behaviors that Louise is repeating... being attracted to the charming but brutish guy? Or does Louise show violence herself (which I could well have missed/misinterpreted)? (Or is this another difference between this production and the original/traditional productions?) Even though this wasn't a play I particularly enjoyed on the whole, the fact that I'm thinking and talking about it weeks later means that it accomplished some of its goals. It was another change. Originally, Louise flirts with the carnival man, who responds but, then, dismisses her, because she's too young. Crushed and upset at that, Louise runs into the children, who continue to tease her. She shouts that she hates them and is then left, dismally, on her own. Billy is upset watching this, the Heavenly Friend asks him, if Louise's situation reminds him of anyone (meaning Billy). Billy says someone should help, the Heavenly Friend says that he still can. Louise does lash out, but I don't know necessarily if it's violent, it ends up distancing those who are trying to be kind, however ham-fistedly, Enoch Jr and Billy spring to mind. So, I'd say the implication is that it's a repeat of behaviour that Billy has shown. "I don't need you, I don't need anyone...". |
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Post by caa on Aug 24, 2021 13:01:49 GMT
Saw it last night, really enjoyed the first act. Apart from the Buoy that kept getting in the sightlines.
But have to agree with the comments about the ending it really fell apart after the Starkeepers arrived and the audience reaction at the end ie I didn't see anyone stand up to applause at the end (unlike when I Paradise last week!) I think shows that its a bit flat and could be more emotional.
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Post by sfsusan on Aug 24, 2021 16:14:08 GMT
Thank you, jaffe. If they're going to change something major in a well-known work, it would probably help to do so with things spoken out loud and not left to the audience's ability (or lack thereof) to interpret dance and symbolism. |
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Post by Theatre Fan on Aug 26, 2021 8:55:55 GMT
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Post by fiyero on Aug 26, 2021 18:32:41 GMT
I’ve skimmed back through the thread so apologies if I’ve missed it but does anyone know the running time for this? With the 19:45 start I’m wondering if I should have booked a later train home!
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Post by sophie92 on Aug 26, 2021 19:09:39 GMT
I’ve skimmed back through the thread so apologies if I’ve missed it but does anyone know the running time for this? With the 19:45 start I’m wondering if I should have booked a later train home! I haven’t been but Open Air website says 2 hours 35 minutes (including interval) |
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Post by fiyero on Aug 26, 2021 19:10:21 GMT
I’ve skimmed back through the thread so apologies if I’ve missed it but does anyone know the running time for this? With the 19:45 start I’m wondering if I should have booked a later train home! I haven’t been but Open Air website says 2 hours 35 minutes (including interval) Thanks, that makes it tight. Let’s hope the MD has a train to catch too! |
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Post by amp09 on Aug 27, 2021 0:42:09 GMT
Had an email through from Open Air Theatre today with a nice £10 discount on top two prices (£65 and £45) for this, as below:
Book by 10 September using the promo code JCSAB10, the offer is valid on all performances, excluding Saturday evenings*.
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Post by NeilVHughes on Aug 27, 2021 8:21:43 GMT
Thanks @amp09 much appreciated, this was on my radar for ‘this year’s’ musical and was holding out for a deal.
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Post by fiyero on Aug 27, 2021 9:18:14 GMT
Thanks, that makes it tight. Let’s hope the MD has a train to catch too! This may be too late if you're going tonight but don't forget you have also got to get out of the park.Always fun in the dark as you gallop round the Inner circle! I’m going tomorrow. I usually let the crowd clear and meander out. If it is running that long I may have to dash down the aisle and out! |
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Post by abitoftap on Aug 27, 2021 13:54:53 GMT
Had an email through from Open Air Theatre today with a nice £10 discount on top two prices (£65 and £45) for this, as below: Book by 10 September using the promo code JCSAB10, the offer is valid on all performances, excluding Saturday evenings*. Even better... Regent Park's Open Air Theatre's "phenomenal" 5-star production of Carousel runs until 25th September. Popbitch readers can get tickets for £35 & £25 instead of £65 & £45. Book before 10th September and quote POPBITCH. Discount will apply in your basket; subject to availability. |
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Post by dlevi on Sept 3, 2021 10:54:30 GMT
Putting aside the production itself - has anyone commented on the way the credits and cast list are laid out in the programme. Is there a new equality directive at Regent's Park Open Air? It seems that the company listing is in alphabetical order by actor, not in order of appearance or even character. That's not so bad, but the Creative team listing is also in alphabetical order by staff member - so the Associate Set designer is listed first, followed by the associate director then the casting director etc.etc. We have to go down 12 names until we get to a designer. The choreographer is two names below that. Seriously, this might make for easy negotiation on the part of the theatre ( "everything is alphabetical") but for the theatregoer this sort of billing is a source of frustration. The theatre is not a democracy. Not all jobs are equal. There needs to be a recognition of that.
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Post by inthenose on Sept 3, 2021 10:59:27 GMT
Putting aside the production itself - has anyone commented on the way the credits and cast list are laid out in the programme. Is there a new equality directive at Regent's Park Open Air? It seems that the company listing is in alphabetical order by actor, not in order of appearance or even character. That's not so bad, but the Creative team listing is also in alphabetical order by staff member - so the Associate Set designer is listed first, followed by the associate director then the casting director etc.etc. We have to go down 12 names until we get to a designer. The choreographer is two names below that. Seriously, this might make for easy negotiation on the part of the theatre ( "everything is alphabetical") but for the theatregoer this sort of billing is a source of frustration. The theatre is not a democracy. Not all jobs are equal. There needs to be a recognition of that. I agree generally, but I must admit, in my role of Aardvark Operator I'm personally finding the new system pretty great. |
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Post by Dr Tom on Sept 8, 2021 21:14:53 GMT
Carousel tonight. A very good first half, much tighter than when I saw this during previews. It helped that I was sat near the front with free seats around and got the ticket for a very good price (thanks to the previous poster for the hint). I do think the new orchestrations really add to the show.
All the leads were on too, unlike last time when I saw this. I do think this makes a difference to the interpretation. Great to see Sam McKay on stage again as he rather disappeared from view after his phenomenal performances on In The Heights.
I also worked out why I didn't recognise Ediz Mahmut when I was sat at the back. He has grown his hair out, which really suits him.
Unfortunately there was no second half (which some may say was a blessing, but it did mean the show didn't reach my favourite song). After the interval, the announcement was made that the rain was predicted to continue and be joined by lightning. Some would question why this wasn't announced earlier, but they were doing a roaring trade in ponchos.
Looking at the forecast, we have a week or so of rain to come, but hopefully some of the shows will go ahead. I suppose really I've been lucky in that across 15 or so visits to the Open Air Theatre in the past few years, this is the first time a show I've been to has ever been rained off.
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Post by inthenose on Sept 9, 2021 21:52:03 GMT
As well as being a talented and versatile performer, Sam Mackay is also a really lovely bloke. Just thought I'd put that out there.
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Post by jennapatchell on Sept 9, 2021 23:39:39 GMT
As well as being a talented and versatile performer, Sam Mackay is also a really lovely bloke. Just thought I'd put that out there. He truly is! |
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Post by Dr Tom on Sept 14, 2021 7:11:56 GMT
I had another go at seeing this last night (and it stayed dry tonight). A lot busier than last week so I didn't get such a good seat, being close to the back, but it was a clear view.
I still managed to get an American guy next to me who seemed oblivious that he wasn't alone in the theatre, waving his arms around so vigorously he had a couple of near misses. Thankfully there were free seats further down the row so I was able to move. I didn't peg him as a theatre fan. He took a call before the show started and conducted the orchestra at various times. But then I heard him telling the person he was with the long list of show bookings he had during his visit. Some people are hard to read.
Good to have seen the whole show again. I do really like what they've done with the music. They've tightened up the ending too, so it's faster and nowhere near as flat. This time, there were actually a lot of people on their feet at the end.
I would see this again for the music, but otherwise a cast album would be perfect.
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Post by BurlyBeaR on Sept 14, 2021 23:28:32 GMT
Well, I really enjoyed it tonight, especially after watching the weather forecast for the last few days and fully expecting my second visit to the OAT to end up like the first.
I don’t know to what extent they’ve changed the ending since the early part of the run but I didn’t find it at all confusing. When he smacks his daughter in the face for talking back to him it’s abundantly clear that people like this rarely change, no matter how many chances you give them to redeem themselves. The audience gasped when he did that to her. I did too. There was nowhere for him to go after that but “down” and from the looks on the star keepers faces that’s presumably what happened!
The only thing that slightly bugged me was the inconsistency with the changes to bring it into modern day. Referring to “vittals” in the clambake song but then using very modern terminology like “slut” and “rats arse” in the dialogue felt wrong. Maybe the R&H people gave less leeway with the songs, either way they were the bits that took me out of the story. For that reason I’ll go ⭐️⭐️⭐️⭐️.
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Post by Boob on Sept 15, 2021 9:44:22 GMT
I had another go at seeing this last night (and it stayed dry tonight). A lot busier than last week so I didn't get such a good seat, being close to the back, but it was a clear view. I still managed to get an American guy next to me who seemed oblivious that he wasn't alone in the theatre, waving his arms around so vigorously he had a couple of near misses. Thankfully there were free seats further down the row so I was able to move. I didn't peg him as a theatre fan. He took a call before the show started and conducted the orchestra at various times. But then I heard him telling the person he was with the long list of show bookings he had during his visit. Some people are hard to read. Good to have seen the whole show again. I do really like what they've done with the music. They've tightened up the ending too, so it's faster and nowhere near as flat. This time, there were actually a lot of people on their feet at the end. I would see this again for the music, but otherwise a cast album would be perfect. Wouldn’t see this again, but a cast album gets a vote from me too. Those orchestrations are (for the most part) STUNNING. |
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Post by FrontroverPaul on Sept 17, 2021 1:46:33 GMT
I finally saw Carousel this afternoon, considered it a three-star okay show and agree with most of the previous comments. The second act dragged a bit and I found myself nodding off twice.
One query. The barker was played today by a male performer acting as a woman - is that usual ? He was fairly young with long hair and bore a passing resemblance to Noel Fielding.
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Post by juicy_but_terribly_drab on Sept 17, 2021 6:24:10 GMT
I finally saw Carousel this afternoon, considered it a three-star okay show and agree with most of the previous comments. The second act dragged a bit and I found myself nodding off twice. One query. The barker was played today by a male performer acting as a woman - is that usual ? He was fairly young with long hair and bore a passing resemblance to Noel Fielding. She's a trans woman so uses she/her pronouns (and also Billy is the barker, she owns the carousel). |
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