Monday, March 26, 2012

Quick Hit Theater Review: Carrie, the Musical

Molly Ranson in a scene from MCC Theater’s “Carrie” © Joan Marcus
Carrie
Based on the novel by Stephen King
Music by Michael Gore
Lyrics by Dean Pitchford
Book by Lawrence D. Cohen
Music Direction and arrangements by Mary-Mitchell Campbell
Choreographed by Matt Williams
Directed by Stafford Arima
Lucille Lortel Theatre

Summary:
Known as one of the mightiest flops ever to land on Broadway (1988 with Betty Buckley playing carrie's mother in the whopping $8-million fiasco which closed after just six perfromances), this show became a cult classic and returns in revised form Off-Broadway where it has been playing to sell-out crowds.

This time, the show deserves its fans as an engaging story set to music instead of for being and epic train wreck. Gore's catchy music conveys the emotions of the title character (Molly Ranson) who unleashes her telekinetic powers on mean bullies at school. Carrie's troubles start at home where she lives with an abusive religious zealot of a mother (Marin Mazzie) who thinks being a woman, and the sexual implication thereof, are the highest sin. When Carrie freaks out at the beginning of her menstuation while in the gym shower at school (her mother never told her...), the other kids, especially the mean-spirited Chris (Jeanna De Waal), are relentless in their mocking. Chris' best friend Sue (Christy Altomare) regrest their treatment of the girl and insists that her boyfirend, Tommy (Derek Klena), for whom Carrie seems to have feelings, take Carrie to the prom instead of her. Teacher Lynn Gardner (Carmen Cussak) suspects their is something behind Sue's motivation, but what she doesn't realize is that it is Chris, with the help of her boyfirend, Billy (Ben Thompson), who is planning revenge.

Highlights:
"Carrie" is not one of my favorite books (I much prefer King's excellent non-horror works) and also isn't one of my top movie picks, so I wasn't expecting much. Instead I found an engaging, well produced show with nice music that isn't predictable (it changes direction sometimes in mid song) with meaningful lyrics ("once you see, you can't unsee"). The lighting (Kevin Adams, design -- he's one of the best in the field) is fabulous and helps create many of the moods (lighting, shadows) and special effects brought on by Carrie's powers. Vocals are strong with some lovely duets and the ensemble is up for the cool choreography.

Lowlights:
The climactic scene, which everyone knows is coming if you have read the book or seen the movie, disappoints. Granted, it isn't an easy scene to stage, what with blood flying everywhere and the school burning and all. . . The energy of the story, however, fueled by Carrie's emotional state, builds toward the big finish, but what we get here is too controlled, too orchestrated to fit neatly on the stage, to satisfy.

Information:
An extension was announced, but since has been cancelled and Carrie will run at the Lortel, 121 Christopher St., NYC, through April 8. For tickets call 212-352-3101.

Christians might also like to know:
-- Strong language (derogatory terms for women used)
-- Blood
-- The mother isn't what I would call theologically sound. . .
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Gracewell Prodiuctions

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Our reviews are professional reviews written without a religious bias. At the end of them, you can find a listing of language, content or theological issues that Christians might want to know about when deciding which shows to see.

** Mature indicates that the show has posted an advisory because of content. Usually this means I would recommend no one under the age of 16 attend.

Theater Critic Lauren Yarger

Theater Critic Lauren Yarger

My Bio

Lauren Yarger has written, directed and produced numerous shows and special events for both secular and Christian audiences. She co-wrote a Christian musical version of “A Christmas Carol” which played to sold-out audiences of over 3,000 in Vermont and was awarded the Vermont Bessie (theater and film awards) for “People’s Choice for Theatre.” She also has written two other dinner theaters, sketches for church services and devotions for Christian artists. Her play concept, "From Reel to Real: The Jennifer O'Neill Story" was presented as part of the League of professional Theatre Women's Julia's reading Room Series in New York. Shifting from reviewing to producing, Yarger owns Gracewell Productions, which produced the Table Reading Series at the Palace Theater in Waterbury, CT. She trained for three years in the Broadway League’s Producer Development Program, completed the Commercial Theater Institute's Producing Intensive and other training and produced a one-woman musical about Mary Magdalene that toured nationally and closed with an off-Broadway run. She was a Fellow at the National Critics Institute at the O'Neill Theater Center in Waterford, CT. She wrote reviews of Broadway and Off-Broadway theater (the only ones you can find in the US with an added Christian perspective) at http://reflectionsinthelight.blogspot.com/.

She is editor of The Connecticut Arts Connection (http://ctarts.blogspot.com), an award-winning website featuring theater and arts news for the state. She was a contributing editor for BroadwayWorld.com. She previously served as theater reviewer for the Manchester Journal-Inquirer, Connecticut theater editor for CurtainUp.com and as Connecticut and New York reviewer for American Theater Web.

She is a Co-Founder of the Connecticut Chapter of the League of Professional Theatre Women. She is a former vice president and voting member of The Drama Desk.

She is a freelance writer and playwright (member Dramatists Guild of America). She is a member if the The Outer Critics Circle (producer of the annual awards ceremony) and a member of The League of Professional Theatre Women, serving as Co-Founder of the Connecticut Chapter. Yarger was a book reviewer for Publishers Weekly A former newspaper editor and graduate of the University of Missouri’s School of Journalism, Yarger also worked in arts management for the Bushnell Center for the Performing Arts, the Hartford Symphony Orchestra and served for nine years as the Executive Director of Masterwork Productions, Inc. She lives with her husband in West Granby, CT. They have two adult children.

Copyright

All material is copyright 2008- 2024 by Lauren Yarger. Reviews and articles may not be reprinted without permission. Contact reflectionsinthelight@gmail.com

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Key to Content Notes:

God's name taken in vain -- means God or Jesus is used in dialogue without speaking directly to or about them.

Language -- means some curse words are used. "Minor" usually means the words are not too strong or that it only occurs once or twice throughout the show.

Strong Language -- means some of the more heavy duty curse words are used.

Nudity -- means a man or woman's backside, a man's lower front or a woman's front are revealed.

Scantily clad -- means actors' private areas are technically covered, but I can see a lot of them.

Sexual Language -- means the dialogue contains sexually explicit language but there's no action.

Sexual Activity -- means a man and woman are performing sexual acts.

Adultery -- Means a married man or woman is involved sexually with someone besides their spouse. If this is depicted with sexual acts on stage, the list would include "sexual activity" as well.

Sex Outside of Marriage -- means a man and woman are involved sexually without being married. If this is depicted sexually on stage, the list would include "sexual activity" as well.

Homosexuality -- means this is in the show, but not physically depicted.

Homosexual activity -- means two persons of the same sex are embracing/kissing. If they do more than that, the list would include "sexual activity" as well.

Cross Dresser -- Means someone is dressing as the opposite sex. If they do more than that on stage the listing would include the corresponding "sexual activity" and/or "homosexual activity" as well.

Cross Gender -- A man is playing a female part or a woman is playing a man's part.

Suggestive Dancing -- means dancing contains sexually suggestive moves.

Derogatory (category added Fall 2012) Language or circumstances where women or people of a certain race are referred to or treated in a negative and demeaning manner.

Other content matters such as torture, suicide, or rape will be noted, with details revealed only as necessary in the review itself.

The term "throughout" added to any of the above means it happens many times throughout the show.

Reviewing Policy

I receive free seats to Broadway and Off-Broadway shows made available to all voting members of the Outer Critics Circle. Journalistically, I provide an unbiased review and am under no obligation to make positive statements. Sometimes shows do not make tickets available to reviewers. If these are shows my readers want to know about I will purchase a ticket. If a personal friend is involved in a production, I'll let you know, but it won't influence a review. If I feel there is a conflict, I won't review their portion of the production.

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