Robert Standley gives Jill Van Velzer, center, a ride on the merry-go-round in the Downey Civic Light Opera production of ‘Carousel,’ playing weekends at the Downey Civic Theatre. Photo by Ralf)
Story Created:
Jun 3, 2010 at 11:43 AM PST
Story Updated:
Jun 3, 2010 at 11:43 AM PST
DOWNEY — Usually patrons leave a performance of the Downey Civic Light Opera smiling, but at least on one night, if not more, they left crying.
“The women [leaving] were complaining that their mascara was ruined,” said Florence Moode, mother of producer-director Marsha Moode and vice president of the Downey Civic Light Opera Company Board of Directors behind President Holly Jacobs.
The reason for the tears was the poignant but uplifting end of Rodgers and Hammerstein’s “Carousel,” where main protagonist Billy Bigelow comes down from heaven to help his daughter and his widow who have had a difficult life since he was killed earlier in the play trying to pull an armed robbery.
So there you have the plot for one of the darkest musicals by Richard Rodgers and Oscar Hammerstein II, known for their happy songs.
Their 1945 musical production was based on the Ferenc Mohnar’s play “Liliom,” written early in the 20th century in Europe.
Rodgers and Hammerstein kept the story line but moved the location from Hungary to New England and Americanized the show with music such as the “Carousel Waltz,” “June is Bustin’ Out All Over,” and “When I Marry Mr. Snow,” along with the lyrical “If I Loved You,” and the up-lifting “You’ll Never Walk Alone.”
The play has a religious overtone, with the main character coming back after his death to find forgiveness and redemption. Or it could be viewed as a love story/tragedy such as “Romeo and Juliet,” or as a realistic story of people trying to cope with being unemployed.
“Many people can sympathize with a young couple out of work and expecting a baby,” Marsha Moode noted in comments to the audience during intermission.
Once again Moode has put together a fine cast with great voices but this time with dramatic acting ability.
Two dances choreographed by Janet Renslow are interesting, but one dance/sea chantey while good, was not necessary to the story. A production number of “June Is Bustin’ Out All Over” was lively and appropriate.
The most significant dance was a ballet style number by newcomer Denai Lovrien, who earned her degree in dance from the University of Arizona in May 2009.
In her dance she portrayed Louise, the rebellious, angry and lonely teenage daughter of Bigelow, trying to live down her father’s shame and headed in the same direction he ended up. She is the one Bigelow must save.
The ensemble selections give Moode the opportunity to use a large number of young, talented performers in which she specializes.
She uses some 50 characters, about 30 of them in the chorus and ensemble. All get mentioned in the program and a stipend as Moode tries to interest young people in the theater.
The main characters, members of Actor’s Equity Union, did well. They included Robert Standley as Bigelow, the tough, rash ladies man who turns to crime to get money for his expected child; Jill Van Velzer as Julie, the female lead; and Ed Kreieger as the Starkeeper in heaven and the earthly pastor Dr. Seldon.
However, not being in a union does not mean the other performers are inexperienced and less talented. Prime examples are Andrea Dodson as Carrie and her whimsical number, “When I Marry Mr. Snow;” and Mr. Snow himself, Downey theater veteran Kit Wilson.
Long-time Downey Civic Light Opera performer Ann Peck McBride returns and does her usual good job with the key song of the production, “You’ll Never Walk Alone.”
Performances at the Downey Civic Theatre. 8435 Firestone Blvd., continue at 8 p.m. Friday and Saturday and again June 11 and 12 and 2:30 p.m. on Sunday and June 13.
Information: (562) 923-1714.
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