Carrie: The Musical is based on the
Stephen King novel and classic horror movie. While both the novel and the movie
highlighted the paranormal, this version produced by the Mask and Dagger
Dramatic Society at University of New Hampshire was designed to focus more on
the bullying facets while downplaying the paranormal. Subsequently, the technical aspects surrounding
the paranormal events were weak and left the audience underwhelmed.
This
bare bones production featured a number of strong ensemble pieces including the
opening number which had the cast coming out from the audience. Unfortunately,
they later retreated to their seats in the audience where more than one broke
character whilst they also used that space to change their clothes, as if the
rest of the audience couldn’t see them, detracting from the scene occurring on
stage. The special lighting on Sue during her
interrogation scenes should have been placed more on her face rather than above/behind
her especially considering, in one of her lines, she requests that the light be
removed from her face because she couldn’t see. It is here that I look to the
creative team and suggest that they pay more detailed attention to lines in the
script that specify lighting or scenic aspects.
The three piece band was located off stage behind the scenes yet
many of the female singers were drowned out by the band on their solos unlike the
male vocalists who were strong throughout. Projection in the small black box
theatre space should not have been a problem. Nevertheless, several of the
performers struggled with their pitch, projection and diction throughout the
performance.
Thankfully two of the lead characters were perfectly cast and
acted as the glue that held the production together. Sue, played by Teghan
Kelly, and Tommy, played by Taylor Morrow, were on point with their characters
and vocals throughout the production. They had a believable and well developed
connection that culminated in their duet in Act 2 that was heartfelt and beautifully
sung. Marrow’s voice was also showcased in his short solo number in Act 1:
“Dreamer in Disguise”. Kelly, who almost
never (if ever) left the stage in the two hour production, was in character and
engaged with each scene as they played out; even those she was not directly in.
Her voice was vibrant and commanding each time she sang and she clearly
embodied her complex character.
The director, Brooke
Snow, explained in the production sheet that “Carrie: The Musical” is
“really a story about the effects that bullying can have on someone’s
life”. While they did downplay the
paranormal, they did not downplay the "religious fanaticism" of the
mother. The mother, played well by
Rachel Noland, was a strong religious fanatic whose warped knowledge of
Christianity offered her justification for abusing her daughter. Carrie
was played by Sam Trottier who effectively showed Carrie as a mousey, naïve girl
but missed the mark when expressing an enraged, out of control victim getting
her revenge in the prom scene. The caring and sympathetic gym teacher was
played competently by Hadley Withington, though her costume and hair style did
not differentiate her as older and more mature than the students she
reprimanded.
In the book and the
movie, Carrie’s demonic paranormal powers are a direct response to her mother’s
controlling, irrational, extreme view of religion. In my opinion, the two extremes go hand in
hand. To lessen the focus on Carrie’s paranormal
abilities, which culminate in the terrifying and deadly prom scene, risks
giving the musical an uneven feel. The way the power was presented at the
prom was underwhelming and anticlimactic. The room went dark when the
bucket of blood was to be spilt over Carrie and the lights returned to find her
wet with a very light colored liquid that did not resemble blood at all. It was then literally difficult to watch Carrie’s
rage unfold with the addition of the strobe lighting which did not enhance the
scene as was perhaps intended.
Mask & Dagger’s goal
as stated in their production sheet is “to use these works of theatre to
provoke thought, test ideas, and broaden perspectives on the UNH campus”. To that end, with this performance as a
public service piece, they have met their goals.
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