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. . .