BLO’s ‘Carousel’ is a breathtaking tribute to an icon

By Rich Fahey

BOSTON – An iconic show, with an equally iconic score. Produced in the historic theater where it all began 80 years ago. A company of talented actors and singers, and a design team to die for. It sounds like the recipe for a musical and theatrical event for the ages.

You would be correct. Boston Lyric Opera has created an operatic-style production of the classic musical “Carousel” at the Emerson Colonial Theatre that is breathtaking, a treat for the senses and a most worthy tribute to a show that debuted at the Colonial in March 1945, running for three weeks before journeying to Broadway, where it ran for 890 performances over two years.

Unfortunately, the production will only be presented twice more at the Colonial on Friday, April 11 at 7:30 p.m. and Sunday, April 13. The BLO has 43 musicians under the guidance of BLO Music Director David Angus in a performance that festures full operatic voices and unamplified singing.

BLO Head of Music and Chorus Director Brett Hodgdon leads a 38-member Boston Lyric Opera chorus. The onstage 49-person company worked under the stage direction of BLO Artistic Associate Anne Bogart.  This production has imagined a new way into the story. A traveling group of outsider artists arrives at an abandoned amusement park. They carry their own props, don their own costumes and work to evoke – the best they know how – life in a quaint New England village. A broken-down rollercoaster serves as their set, enhanced by whatever scraps they find. A rusty lever is lifted and the park’s lights come on.

The story of charming but troubled carnival barker Billy Bigelow (Edward Nelson) and naïve mill worker Julie Jordan (Brandie Sutton) then unfolds onstage. ”Carousel” was adapted from “Liliom,” the 1909 stage play by Ference Molnar that became a 1934 film; “Carousel” updates the setting to a small, close-knit mill town in coastal Maine in the late 19^th Century.  The score is by the nonpareil team of Rodgers & Hammerstein, building on their breakthrough success in “Oklahoma!”   

As Billy, Nelson has a commanding stage presence and a baritone big enough to deliver classics such as “If I loved You” and “Soliloquy.” Soprano Sutton is every bit his equal, especially as they go back and forth in “If I Loved You.”

The part of Carrie Pipperidge, Julie’s close friend, is a plum, and American soprano Anya Matanovic aces the test in a delightful fashion in numbers such as “You’re a Queer One, Julie Jordan” and “(When I Marry) Mr. Snow.” Boston-based tenor Omar Najmi brings vocal chops and some Downeast Maine humor to the part of herring fisherman Enoch Snow, who has big plans for his family.

Mezzo-Soprano Nettie Fowler (Jamie Barton) owns a small seaside spa and takes in her cousin Julie and Billy after both lose their jobs and leads the celebration after winter gives way to spring and “June is Bustin’ Out All Over” and “This was a Real Nice Clambake.”

Boston Foundation President M. Lee Pelton (BLO debut) makes a deft cameo as The Starkeeper/Dr. Seldon. There is also strong support from Sarah Heltzel as Mrs. Mullin, the carousel owner; Markel Reed as Jigger Craigin, whose conspiracy with Billy has a deadly ending; and Theophile Victoria as mill owner David Bascombe.

Bogart’s direction is masterful; it captures the spirit and tone of the piece without sacrificing anything along the way.  Shura Baryshnikov’s new choreography, which aims to honor the movement by iconic dance maker Agnes de Mille, is especially striking in Act II’s “Dream Ballet” sequence featuring Abigail Marie Curran as Louise Bigelow, the troubled daughter of Billy and Julie. After his death, Billy is given a one-day reprieve to go back to earth and try and help his daughter.

That visit ultimately culminates in the show-stopper of all show-stoppers: “You’ll Never Walk Alone,” the anthem that was officially adopted by the supporters of the Liverpool football club and has many reaching for their handkerchiefs.

Sara Brown’s towering set ably suggests both the remains of a roller coaster and a carnival and includes a turntable stage that easily transforms into the carousel of the title. Haydee Zelideth’s costumes answer the challenge of costuming carnival workers and sideshow attractions as well as fishermen and other members of the seaside community.

“Carousel” has been called out through the years for its treatment of the domestic abuse Billy metes out along the way, along with other issues.

In press notes Bogart said that seen through a contemporary lens, the show’s depictions of domestic violence, cycles of poverty and crime, suicide, and toxic masculinity still resonate strongly.  “The treatment of these issues in ‘Carousel’ may seem outdated by modern standards, but its artistic merits – and willingness to tackle complex human actions – make it a thought-provoking work within the classical music theater canon. ‘Carousel’offers a profound exploration of love, loss and redemption.”

Bogart also said the idea of a traveling troupe presenting the show nods to the journey taken by Billy, to migrants who often find itinerant work in fishing communities, and to the show’s long history.

“Rodgers & Hammerstein’s ‘Carousel’ is steeped in the grand traditions of opera, woven through with soaring melodies, sweeping orchestrations and deeply human drama,” said BLO Stanford Calderwood General Director & CEO Bradley Vernatter.

The overture of “Carousel” is a loving tribute to the genius of Rodgers & Hammerstein. The opening notes of “The Carousel Waltz” have always sent a chill down my spine and with 43 musicians in the pit, the effect is that much greater. The BLO has cut no corners and pulled out all the stops in making sure that its celebration of “Carousel” and the city where it all began is a production to remember.

Boston Lyric Opera’s 80th anniversary production of CAROUSEL runs four performances over two weeks, from April 4-13, 2025. Tickets are priced from $48 and are available at blo.org. Student and other discounts are available.