This might be theatrical blasphemy, but Rodgers & Hammerstein’s “Carousel” needs a rewrite. OK, the music is well written. The actors in Wagon Wheel Theatre’s production of the musical were spot on opening night Wednesday and can sing like professionals, but the arc of the story in “Carousel” annoyed me by the time it was over. All the meat of the story – where the story really gets going – happens in Act II. And Act II is a lot quicker and shorter than Act I. Act II has action! Drama! Attempted murder! Suicide! Angels in black! A character seeking redemption! A 17-minute ballet! Sure, Act I sets the stage for the show and establishes many characters, but it takes so long to do that, Billy Bigelow (Matthew Janisse) doesn’t really get to do anything to redeem himself in Act II. He just encourages Louise to listen to the guest speaker at her graduation. Then the audience doesn’t really know if Billy redeemed himself, if Louise heard him or what. You just have to “use your imagination.” Lame. Granted, there’s been dozens of movies about people coming back from the dead to fix a wrong (“Ghost” for example), but the resolution to “Carousel” seems contrived, rushed. “Carousel” may be a classic, but other than the music, it needs rewritten. For anyone who wants to know, yes, this was the first time I saw this musical in its entirety. So now that I put that out there, let me say how fantastic the Wagon Wheel actors were in their roles. Actors can be great even in not-so-great stories, and they did that Wednesday for the opening show. Janisse was a perfect casting for the role of Billy. His emotions are so intense, you can see them broadcasting through his facial expressions, actions and mannerisms. He doesn’t have to say much for audiences to get that Billy is hot-tempered and unhappy with his life. Like the Incredible Hulk, Billy’s anger can blow up at any time, and Janisse develops his character so well that you half expect him to turn green and bulk up at any second. Janisse controls his character on stage like a seasoned professional. Audiences may remember Janisse as Emmett in the last show “Legally Blonde.” Billy is totally the opposite of Emmett, yet Janisse played both characters flawlessly. Before meeting Julie Jordan (Annie Yokom), Billy never meets the right girl. Julie, though young, is the right girl for Billy, though he either never accepts or sees that, or refuses to admit it. Julie is headstrong and tough. She’s loving when she needs to be, but holds back to protect herself. She’ll take a lot from Billy, but she’ll dish it out when she has to, like to other women like Mrs. Mullin (Sarah Jackson). Yokom delivers the role of Julie Jordan perfectly, as if she were meant for the role. Together, Janisse and Yokom are the yin and yang of “Carousel” that work harmoniously on stage without upstaging one another. As for their singing – like the rest of the cast – the couple hit all the right notes in all the right places. Their voices soar, and compliment one another, especially on “If I Love You.” Speaking of soaring voices, Kira Lace Hawkins does it again. She practically stole the show in “Legally Blonde” as Paulette, and as “Nettie Fowler” in “Carousel” she gives a mesmerizing performance. Audiences will fall in love with her voice alone every time she belts out a tune, especially “You’ll Never Walk Alone,” though every one of her numbers is sublime. Hawkins gives Nettie such life in the time that she’s on stage, there’s got to be more of that character’s story to tell. To provide some comic relief for this dramatic musical, two particular characters stand out, with the actors in those roles doing a fine job. Carrie Pipperidge (Erika Henningsen) is Julie’s best friend. She’s not always the brightest crayon in the box, but she has a sisterly heart for Julie. Whether Carrie is taking “self-defense” lessons from Jigger Craigin (Javier Ferreira), or explaining a show she saw in New York to Julie, Henningsen delivers the goods. She’ll ease you up after an intense scene or fight. Henningsen also has an amazing voice. But, seriously, who couldn’t sing Wednesday night in this show? They - including Henningsen - do Rodgers & Hammerstein proud. (Again, it’s not the music I dislike, it’s the story’s resolution.) Ferreira plays his role like an East Coast hoodlum. “Carousel” is set in the late 19th century, but Ferreira easily gets away with giving his character a little bit mid-20th century Marlon Brando flavor. It works for his character and the show. The way Ferreira delivers his role, you know you can’t trust Jigger, even if you are his “current” best friend. He will use you, steal from you, cheat on you, whatever he’s got to do to get what he wants. Ferreira is another great casting decision. Two other supporting roles round out the top casting tier of the show’s company. Jackson plays Mullin like the conniving, needy tramp she is. You can tell by the way Jackson carries herself as Mullin that she’s only out for one thing, and for one person. The other is Dan Smith as Enoch Snow. When he comes out singing part of “Mister Snow” in Act I, he really grabs your attention. For some reason, I wasn’t expecting him in that role, but he plays it to a “T”. Really nice job. Also working out well for “Carousel” is the wardrobe and wigs for this musical. Costume designer Stephen R. Hollenbeck knows how to get it done, especially with the women on stage. The costumes not only fit the characters, but they look good. Very stylish, and very era specific. I mentioned a 17-minute ballet earlier. Choreography for this show is provided by Lesa Dencklau. Though a couple actors faltered opening night with their spins during the ballet, overall it was one of the best dance numbers of the season so far. Perhaps the best one. Grace Robinson as Louise gets some of that credit, too, for doing such an amazing job on the dancing, and looking very good while doing it. The white dress she wore also gave a lot of enchantment to her moves. It flowed with her, not against her, and evoked an innocence about Louise’s character. Robinson really played the role convincingly, so you believe Louise is Billy’s relation. And she moves so gracefully while dancing. Directing this show, and only this show, this season is Wagon Wheel veteran actor and director Tony Humrichouser. I always have high expectations for the shows he directs, and he lives up to that with “Carousel.” He has made sure the actors know their roles, know where to be and how to get there. Everything is as it should be. I just want to rewrite how the show is resolved!So, instead of one rating for this show, I’ve broken it into two ratings. I think that’s fair to the director, cast and crew that way. My rating (out of four) of the performances, singing, etc.: 3.75. My rating of “Carousel”: 2.50. Tickets range from $16 to $34. Discounts are available for college students and on designated performances for seniors. For more information, visit wagonwheeltheatre.org or call 574-267-8041.
