UCL’s Carousel: A Real Nice Show!
Image Credits: Noor Grewal
If death gave you a second chance, how would you make things right?
UCL Musical Theatre Society’s rendition of Carousel debuted at Bloomsbury Theatre on Thursday 27th February.
Like many in the audience, I was unfamiliar with Rodgers and Hammerstein’s original 1945 production, so I settled into my seat, open-minded, but unsure of what to expect.
As the curtain rose, that feeling was expeditiously abolished.
The entire cast flooded the stage to perform the opening number, aptly titled The Carousel Waltz. What ensued was 15 minutes of glorious swirling, swaying, and sweeping - featuring a series of coordinated partner lifts that recreated a human-made carousel.
I can only imagine that this scene alone was a logistical nightmare for the extraordinarily gifted director, Alexis Rendel, and ballet choreographer, Madeline Derbyshire, who meticulously synchronized an entourage of over 20 cast members to perfection.
What immediately struck me was the sheer talent of the triple threat actors who welcomed the stage - each tasked with operatic singing, ballet dancing, and Golden Age musical acting. The star of the show, Rory Patrick Graham, who played Billy Bigelow, faced a monumental challenge: mastering not only the character’s emotional turmoil but also the physical demands of the choreography and taxing vocals. Yet he tackled it with astonishing grace, delivering a raw and complex portrayal of a deeply flawed yet charismatic character.
Additionally, the music throughout the entire three-hour production was utterly astonishing. The live orchestra played with precision and energy that levelled up the entire viewer experience. Credit must be given to the fabulous musical director and conductor, Ben Francis, who expertly guided both the cast and orchestra, ensuring that every musical moment seamlessly aligned with the performers’ movements and expressions, heightening the impact of the production.
For those unfamiliar with Carousel, this musical follows the story of Billy Bigelow, a surly carnival barker, who falls in love with mill worker Julie Jordan, played by Charlotte Watson, a relationship which ends up costing the pair their jobs. In a continuous turn of unfortunate events, Billy learns Julie is pregnant, and in an effort to provide for his family, he is coerced into participating in an armed robbery. As foreshadowed, the robbery goes wrong, and in order to avoid jail, Billy takes his own life. 15 years later, he is given the chance to return to Earth for just one day, to meet the daughter he never knew.
Charlotte Watson, who played the main love interest, delivered vocals that would not be incongruous in the West End. As Julie, she brought a tender vulnerability to her performance, capturing the character’s internal conflict and quiet strength. She expertly portrayed several deeply emotive scenes throughout the show, including a heart-wrenching breakdown during Billy’s death, which left many audience members damp-eyed and sniffling.
Another audience favourite was the powerful ballet scene performed by Tallulah Hamilton Barr as Louise, Billy Bigelow’s daughter, and Jago Cahill Patton as Enoch Snow Jr. The chemistry between the two performers added an extra layer of intensity, making the moment truly memorable.
One of Carousel's most contentious aspects is its portrayal of domestic violence. While the musical was originally produced in the 1940s - an era when abuse within households was regrettably commonplace - it is important to examine how this theme is handled in a modern-day production.
What makes Carousel especially troubling in a modern context is not just that Billy strikes his wife, but that she deems it acceptable. Julie repeatedly recognizes Billy’s violent tendencies throughout the musical, yet continues to endure them without objection - interestingly something the UCL production chose to stay true to in the script.
However, I question the necessity of keeping these details in the show, especially given the director’s willingness to modernise other elements - such as incorporating queer relationships among ensemble members and opting for timeless costumes instead of the original 1940s attire.
That said, it is important to acknowledge that UCL Musical Theatre Society chose to donate all proceeds from programme sales over the three nights to Woman’s Trust, a specialist mental health charity providing free counselling and therapy for women who have experienced domestic abuse.
Ultimately, Carousel was a visually and musically stunning production, elevated by an immensely talented cast and a fresh directorial approach. This was a production that not only showcased remarkable talent but also invited important conversations, leaving a lasting impression on its audience.