Summer-Stock Group Makes A Smashing Debut
“Carousel” Friday night, July 18, The Met
Let the record show that the debut performance of the Spokane Theatrical Company was a standing-ovation smash.
This can be attributed partly to good will: The near-capacity crowd was excited about being present at the opening of a new (and possibly long-lived) Spokane summer-stock institution.
And it can be attributed even more to this: It’s a terrific show.
This “Carousel” is blessed with a wealth of talent both in the key lead roles and in all of the supporting roles. Beyond that, it is directed with a dreamy, moonlit grace.
“Carousel” is one of the darkest of Rodgers and Hammerstein’s musicals. Yet director Troy Nickerson gives this show a style that’s more pensive than depressing, and he truly infuses this show with a touching core of emotional truth. Bring a hanky.
This fledgling company got lucky in its casting.
Cheyenne Jackson is a fine Billy Bigelow, with his James Dean looks and his pure voice. He manages the feat of being both dangerous (that’s part of his attraction to Julie Jordan) and sympathetic. We really want Billy to do the right thing, which makes it all the more wrenching when he doesn’t.
On top of that, Jackson delivers an absolutely stunning version of the stream-of-consciousness “Soliloquy,” one of the great numbers in American musical theater. It’s a powerful first-act closer.
Julie Powell is every bit his match as Julie Jordan. Powell has a sweetness of both character and voice, yet her character gains depth and maturity as she navigates the tragic terrain of the second act.
Thara Leigh Cooper stands out as Julie’s spunky friend, Carrie Pipperidge. Cooper has a peerless voice, yet her acting is even more impressive.
The role of Carrie is big, almost as big as the lead role, and here she proves she is more than ready to play leads.
Other supporting performances that contributed to the show’s success: Jamie Flanery, whose gravelly voice and glowering demeanor gave a menacing edge to the role of Jigger; Gary Pierce, who has a fine voice and does a funny character turn as the mutton-chopped Enoch Show; Marianne McLaughlin, who is full of life and bluesy character as Nettie Fowler; and Melody Deatherage, who imparts a kind of fine, heartless desperation to the role of the carnival floozy Mrs. Mullin.
The twin-piano score, played by musical director Carol Miyamoto and Sheila Zilar, sounded surprisingly full and lyrical. It sounded especially fine in the opening “Carousel Waltz,” and later, during the ballet.
The choreography in the ballet was wonderfully done, which probably can be credited to Margaret Goodner. The rest of the choreography was serviceable although limited because of the small Met stage.
The set (by the multitalented Flanery) was simple but surprisingly evocative. The projected images of moon, earth and stars were especially welcome touches.
My only advice to this fledgling company: Remember to project, project, project. Otherwise, here’s to a long and successful life for the Spokane Theatrical Company.
, DataTimes