Carrie, yeah, you think you know all about it, right? Multiple movies, a failed TV series, etc. etc. but in the Beck Center’s Carrie: the Musical (directed by Victoria Bussert) Stephen King’s telekinetic girl with anger management issues flames out in memorable new ways.
Here the dazzling stage-commanding student ensemble kicks (and twists and smacks and prances) the show off with a riveting version of “In.” The super in-condition teens aggressively preaching about how hard it is to fit “in” are all from the Baldwin Wallace Music Theatre Program.
As the story continues, choreographer Gregory Daniels never lets the cast off the (dancing) hook, making movement (never mind telekinesis) a significant, powerful motif and the ensemble dancing at least as good (maybe better) as anything I’ve seen on Broadway.
Although shortened, simplified, and changed, the musical story holds true to the heart of Carrie, King’s first published novel (1974). High school can hurt: its mix of insecurity, lack of empathy, and blooming hormones can produce deadly results. (Just read the news.) It’s no accident that Carrie’s discovery of her powers coincides with the onset of sexual maturity (i.e. her period starts during gym class).
Suddenly peer persecution intensifies, making school’s ordinary horrors escalate. We know it will end badly, but it’s wicked fun to see how it works out and it also makes us glad we’re done with high school.
Petite Caitlin Houlahan slides gracefully from quiet piety to vibrant revenge as the title character. We hear the story framed in testimony by a confused and penitent Sue (sweetly lovely Sara Masterson) who realizes too late just how dangerous high school bullying can be. The only other “good” kid in school, Colton Ryan (played by appropriately charming Tommy Ross) tries, but fails to help. The rest of the ensemble just glows and rocks as the scary pretty “popular” kids in high school.
Carrie’s mother Margaret While (Katherine DeBoer singing like an angel) proves that just praying a lot doesn’t necessarily lead to Christian goodness and charity. I would have liked DeBoer’s portrayal even more if she’d uncovered a bit more of the crazy hot hellish simmering tensions inside the bitter mother. Mrs. Gardner (an earnest Jodi Dominick) personifies hapless teachers who couldn’t tame their charges and shows just how little even well-intended teachers can do.
Jordan Janota’s set functions brilliantly, showing how the school gym can be the small town social center of the universe. With welcomely fast-paced musical direction by Nancy Maier and choreography by Daniels, the show features music by Michael Gore, lyrics by Dean Pitchford, and book by Lawrence D. Cohen.
Quibble: It was a shame that the blood shorted out someone’s microphone during the finale, but that should be easy to prevent in future performances (buckets of blood are spectacular, but hard to manage).
Disclosure: I do work at Baldwin Wallace University (in a non-musical position, alas–can’t dance, can’t sing–love to watch). Inspired by Mussorgsky’s Khovanshchina (great burning scene), I once wrote Stephen King a personal letter begging him to make Carrie a grand opera. Unsurprisingly, he didn’t answer. I still think that’s a super idea.
Carrie, the Musical, produced in collaboration with Baldwin Wallace Music Theatre Program, runs through March 9, 2014 at the Mackey Main Stage. For more information go to http://beckcenter.org.
Laura Kennelly is a freelance arts journalist, a member of the Music Critics Association of North America, and an associate editor of BACH, a scholarly journal devoted to J. S. Bach and his circle.
Lakewood, OH 44107