‘Carousel’ Review: Rodgers & Hammerstein’s Dark Masterpiece On Broadway, Bedazzled And Bedeviled BROADWAY REVIEWS

Opening Night:
Closing:
Open Ended

Theater: Imperial Theatre / 249 West 45th Street, New York, NY, 10036

Synopsis: 

Whether O’Brien and his producer Scott Rudin should have (or, for all I know, could have) tinkered in some way with this masterwork, somehow lessening carnival barker Billy’s penchant for slapping around the women in his life – and, as crucially, the women’s acceptance played as some noble marker of all-forgiving love – makes for a larger argument about art and history than I could survive without endless “but then agains.”

So we’re left with a decide-for-yourself philosophical quandary about old art in a new world, and the marvelous Broadway production that raises it.

Composed by Richard Rodgers, book and lyrics by Oscar Hammerstein II, 1945’s Carousel, if you’ve forgotten, tells the tale of carnival barker Billy Bigelow (Henry), a lout who gets through his roustabout life on good looks, big muscles, tight sweaters and the swooning young girls who line up for a dizzying ride on his merry-go-round, double entendre fully intended.

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