Carousel - ENO 2017

Yes some quiet discounting for this on Today Tix. Side circle row E for £50 instead of £80 on the ENO website. A lot of availability. This has done nothing like the business Sunset did last year.

The producers must be on the phone to top American stars as we speak saying something like "what musical would you like to do in the glittering West End of London next year Catherine/Meryl/Barbara/Liza/Chita?"

Actually yes they do. To fill the theatre and charge the prices they want they need to make the shows a real limited run event that people are willing to pay extra for. You need the perfect combination of star and show. Otherwise these shows are just a limited run revival without even a decent set and staging.

The casting has to be right clearly but I cannot think of any British stars big enough to fill the theatre at high prices.

However, cast Angela Lansbury as Madame Armfeldt in A Little Night Music with Catherine Zeta Jones as Desiree Armfeldt and watch a box office meltdown!

This production is probably the best thing I never went to see.

Oh my God this is awful. Interval. Does it get better or should I go home?

Sold. This is f***ing dire.

Have you seen it? The first Act was just about the poorest I can recall seeing since The Far Pavilions. Absolutely joyless gulch. The second Act was thankfully hugely improved and the show seemed to find some heart. Overall a very poorly realised piece of theatre.

Just out of "Carousel". The production is an ENO semi-staged affair; I think a definition needs to be created once and for all as to what this really means. Much like "Sunset Boulevard", this is to all intents and purposes "fully staged" with full sets and, this time, a revolve. I can't help but feel the semi-staged disclaimer is a gentle reminder to not expect full blown opera theatrics, given to season ticket holders and top paying sorts as a kind of pre-show waver. I didn't enjoy the design, but as with Sunset, I can't see how anyone could feel short changed. There is, however some dissonance between the enormous venue and the modest sized cast, which would leave opera buffs bemused - along with people in the Gods like myself tonight, who couldn't help but notice the large gaps in the stage.

To call the first act ropey is an injustice to hemp. My only other previous experience of Carousel was seeing a national tour starring Sam Kane - I'm not familiar with the movie although I know the songs and story - but the first act felt like it was in a coma. The songs come out of nowhere, with little provocation, slowing the plot into a standstill.

Here, I should comment on Katherine Jenkins, who I think comes out of this train wreck okay - strangely, particularly with her acting! Her singing is entirely disconnected from her acting, as is so often with opera singers. But is Ms. Jenkins even a legitimate opera singer? Her vocals were gravelly and less than stellar. The same can't be said for Alfie Boe who is note perfect, but is terribly miscast as Billy. I found myself shutting my eyes and enjoying the huge orchestra and Boe's voice rather than looking at the boring visuals. With eyes shut, this production could pass for a good one.

The "pirate song", as I've just christened it, features some laughably dreadful camp choreography. Also, like much of the first act, it was completely unnecessary, out of place and gave me at least a little entertainment.

It was only the prospect of Rodney which kept me for the second Act, and in truth I'm happy I stayed. The pace and energy of the show improved tenfold. I actually really enjoyed the final forty minutes or so, where the plot comes together (or takes a ridiculous twist, depending on your perspective)

There's no doubting something is rotten, even Kismet rotten, at the core of this production. The first Act is unforgivable and some of the staging is atrocious, hurt by a dated book where people really do burst into song for no reason, but nothing is done to address of obvious drop of energy when a random song starts. An improvement in the second Act is tied in closely to an improvement in the source material. Some nice staging emerges too; the creation of the carousel by the dancers was a genuinely impressive moment.

But no, don't see this. It's dated, the staging is naff and the performances forgettable.

Not sure what you were expecting but liked it and dont recognise the show you are describing

There is a massive structural problem with the plot of Carousel. Dramatically there is very little plot development in the first half that really lands with any dramatic power. Billy woos Julie, he wins her, then finds out that he is going to be a father and freaks out. Yes, there is some lovely music and some innovation in terms of how that music is interwoven with the narrative - but essentially there is no big dramatic climax to keep the audience on the edge of their seats.

For me, the end of the first Act should be the death of Billy. That is the real emotional climax of the first part of the story arc. The fact that this comes part way into Act 2 means the first half fails to satisfy me. Of course there is not enough plot after Billy dies to fill a full second half.

I have sat down with the script and the score to see if there is any way to restructure the existing material in order to deliver a more balanced piece and I could not find a way.

Perhaps once it drops out of copyright, someone will take it apart and remake it completely - but until that point, we are going to have to live with the many flaws. There are enough good tunes for me to enjoy it on CD but it is not a piece that works for me in the theatre.