Ian Diddams
As a child of the 70s I grew up with the new genre of horror films … “The Exorcist” led the way in 1973 with its green vomit and spinning head. “The Omen” in similar demonic child plot followed in 1976, but also released in 1976 was a film featuring a less demonic but no less … disturbed… teenager… “Carrie”. The screenplay was an adaptation of Stephen King’s 1974 novel of the same name about an outsider high school student of that name.
So having a horror story book, followed by a horror story film, what is the obvious next step to take with the overall premise? That’s right – a musical. How obvious. After all, its hardly lovely, fluffy, boy meets girl, boy and girl fall in love, unlikely misunderstanding occurs, boy and girl separate, boy and girl get back together, love blossoms, final curtain, all interspersed with some jolly rollicking show tunes, stuff. Oh no – its more everybody hates girl, mother suppresses girl, girl is awkward, girl’s peers humiliate girl, girl kills peers… all interspersed with some … well… not so bouncy (but excellent!) show tunes.
If you aren’t aware of the story proper, and the above synopsis isn’t enough, then google is your friend. Though in a bizarre happenstance of fate my poor typing skills initially wrote that as “google is your fiend”. Which may be somewhat more apposite given the storyline. Maybe.
Anyway… I quite like dark musicals. And let’s face it … musicals probably don’t come much darker than something that originated from the pen of Stephen King.
“Carrie” is performed by “Luna Theatrics”, a Bath based company at the Rondo Theatre this week. The cast is a young one as befits the story’s setting in Chamberlain High School and where the eponymous anti-hero is a late to puberty seventeen-year-old. The set is a simple black box with minimal props – it very much helps highlight the action with few distractions.
In attendance is the quite excellent live seven-piece band led by Alex Williams, tucked away but centre stage in the rear section that the Rondo’s stage allows for. Tech is provided by Alex Draper & Tony Giddings with specialist effects from Lazurus Molina and Jack Whittaker. Mollie Macpherson produced the show.
So what of the show I hear you ask? The book is by Lawrence D. Cohen, lyrics by Dean Pitchford and music by Michael Gore, but that’s the stuff that google can give you of course. It’s a fast-paced show which nonetheless pulls along the fairly simple story line in about an hour and three quarters – not that it ever seems to be taking long I hasten to add lest that appear a criticism.
There are three key partnerships in the story. Mother and child – Margaret and Carrie. Margaret is the overbearing, Old Testament god-fearing, benignly intentioned, oppressor of her daughter and is superbly played by Caroline Murray; it’s the smallest principal character yet without Margaret the story doesn’t exist, and Caroline ensures every nuance of the mother’s influence over Carrie is illustrated. Carrie – all shy angst and awkwardness, is played stupendously by Amy Goodspeed. At first Amy’s portrayal seems a little lack lustre – but this is me being slow … as in fact she had encapsulated the persona of her character perfectly, which as the second act moves on expands into a more confident girl and burgeons with it… until the final humiliation and the crushing of dreams.
These two have for me the most beautiful parts of the musical … a duet in the first act (“Evening Prayers”) and Caroline’s stunning solo in act two (“When There’s No One”).
The second partnership is Sue and Tommy – the high school perfect couple – played by Ella Rodbourn and Ewan Wyatt. Both play their characters believably as the “in crowd” that become supportive of Carrie. Ella demonstrates Sue’s frailty and uncertainty in particular really well… while Tommy’s prom scene with Carrie is done sweetly with compassion.
Then there’s the “nasty couple” of Chris and Billy… where it’s better to strike than get struck better to screw than get screwed, better to punch than get punched, better to burn than get burned as Chris’ solo (“The World according to Chris”) explains. Chris is perfectly belligerently portrayed by the ever adaptable and strong stage presence of Naomi Marie. Jack Whittaker is absolutely perfect as Billy, all alpha male testosterone, and no brain cells.
The rest of the cast all equally shine – unsurprisingly. Rebecca Paterson & Joe Gibson as the harangued teachers, and other students consisting of Joshua Phillips, Katherine Flint, Holly Dumper, Adam Evans, Sarah Coles and Louisa Naylor. Ensembles are often glossed over but these eight keep the pace high and all take their opportunities to shine.
There’s one area I haven’t mentioned yet – and step forward director and choreographer Adam Evans. The dance sequences are crisp, sharp, and energetic – several cast members mentioned after the show how warm they still were after changing! The direction is spot on too… there are parts of the show that are genuinely scary and disturbing.
TL;DR? It’s a cracking show. The music is excellent. Choreography excellent. Drama spot on. Acting and singing top notch.
And so back to the film in 1976… Those that have seen it may be wondering if the stage musical has the same… surprising … ending. Well…..
… You’ll have to go and see the show to find out! Carrie is showing at the Rondo Theatre until Saturday 17th February, at 1930 with a Saturday 17th matinee at 1430.
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