Carousel Inquirer Review Pt.1 (3-27-94)

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Carousel Inquirer Review Pt.1 (3-27-94) - A new spin on old musicals By Clifford A....
A new spin on old musicals By Clifford A. Ridley INQUIRER THEATER CRITIC EW YORK - You had to hand it to Rodgers and Ham-merstein. In their first Broadway show, Oklahoma!, they defied convention by having a character die in the second act. In their second, Carousel, they had the hero die in the second act except that he wasn't really a hero at all, at least in the traditional sense. He was, in fact, an out-and-out rotter, a weak ne'er-do-well whose idea of providing for his unborn child was to commit armed robbery. When the robbery went sour, he killed himself rather than be captured. This was a musical? It was indeed not just a musical, but a musical that today, 49 years after it was first produced, remains many critics' all-time favorite. With its tragically romantic libretto, its soaring score, and its seamless interplay between them (evident in such scenes as the hero's seven-minute soliloquy and the 12'2-minute sequence that begins with "You're a Queer One, Julie Jordan" and continues through "If I Loved You"), it completed the process that Oklahoma! began: Transforming what had been musical comedy into musical theater. "Oklahoma is about a picnic," Stephen Sondheim once said. "Carousel is about life and death." Given a show so tantalizingly close to perfection, you'd think that no one would want to tamper overmuch with the balance of things. What more could one find, after all,. in a piece of such richness and humanity? Quite a lot, it seems. The Carousel that opened Thursday at the Vivian Beaumont, a long-See MUSICALS onG11

Clipped from
  1. The Philadelphia Inquirer,
  2. 27 Mar 1994, Sun,
  3. Main Edition,
  4. Page 87

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  • Carousel Inquirer Review Pt.1 (3-27-94)

    kgny4099 – 13 Feb 2018

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