Carousel (Musical) Plot & Characters | StageAgent Overview Synopsis Richard Rodgers once wrote that of all the musicals he wrote, Carousel was his personal favorite. This iconic American classic features some of the most powerful music ever written for the stage, including “If I Loved You”, “Mister Snow”, “June is Bustin Out All Over” and the iconic “You’ll Never Walk Alone.” Carousel was Rodgers and Hammerstein’s second collaboration, and was adapted from Ferenc Molnar’s 1909 play Lilliom. They transferred the Budapest setting of Lilliom to the New England coastline, where Carousel takes place. The story tells of charming, roguish carnival barker, Billy Bigelow, and mill worker Julie Jordan, both loners, who meet and fall in love. Their marriage ends up costing both their jobs, and things go downhill from there. Billy’s desperation makes him violent against those he loves most, and drives him to commit crimes in order to provide for his family. When Billy falls in with con-man Jigger Craigin, he ends up getting caught in the midst of an armed robbery and takes his own life.

Billy is allowed to return to earth for one day fifteen years later, and he encounters the daughter he never knew. Louise is a lonely, friendless teenager, her father's reputation having haunted her throughout her young life. How Billy instills in both the child and her mother a sense of hope and dignity is a dramatic testimony to love’s transcendence. Voted the best musical of the 20th century by Time Magazine, Rodger’s and Hammerstein’s Carousel is the classic American musical, spanning heaven and earth in its exploration of human frailty, resilience, and the power of forgiveness. Characters Carousel - The Guide to Musical Theatre CAROUSEL Music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, based on "Liliom" by Ferenc Molnar , adapted by Benjamin F. Glazer. Majestic Theatre, New York - 19 April, 1945 (890 perfs) with John Raitt (Billy) and Jan Clayton (Julie). Opened at the Theatre Royal, Drury Lane, London, 7 June 1950 with Stephen Douglass and Iva Withers.

A film version was produced by Twentieth Century-Fox in 1956 with Gordon MacRae and Shirley Jones. From the magical evocation of the carousel in the overture to the majestic and moving strains of the immortal "You'll Never Walk Alone", this giant of the musical stage remains timeless and starbright. The poignant story of the faithful Julie and her brutish husband Billy is one of the most powerful books of the musical theatre and perfectly matches its extraordinary score. Recently revived by the Royal National Theatre to immense critical acclaim. Famous songs include "Mister Snow", "If I Loved You", "June Is Bustin' Out All Over" and "When The Children Are Asleep". Synopsis Act I The opening scene is an amusement part on the coast of New England around the year 1873. A feature of the park is Mrs Mullin's carousel with its gaily painted horses and its jack-the-lad barker, Billy Bigelow. Mrs. Mullin likes Billy and she likes the amount of feminine business he brings to the carousel, but she is clearly jealous of the girls whom he picks out for his special attention.

She gets sourly steamed up when he pays a little attention to a mill girl called Julie Jordan and she vehemently warns the surprised Julie aways fromthe carousel. Her timing is bad, for Billy himself catches the end of the warning. He turns on his employer and tells her that she has no control over what girls he sees and, when the quarrel raises itself a tone, Mrs Mullin, not for the first time, sacks the barker. Julie and her friend Carrie are aghast at the scene, and even more worried when it turns out that Billy probably doesn't have the price of a beer to his name, but the man shrugs off such worries. He's going to get his things and then one of them can go and have a drink with him. He doesn't mind which. Carrie is open-mouthed with amazement at Billy, and the girls are quite fazed at the fact that he is paying attention them. The quiet, introspective Julie has never had a boyfriend ('You're a Queer One, Julie Jordan') and Carrie's experience of men is in a very different field. She's going to marry the respectable and reliable fisherman, `Mister Snow'.

When Billy returns and asks which one of them is going to spend the evening with him, Julie volunteers without hesitation. She faces dismissal from the mill for doing so, for Mr Bascombe, the mill owner, insists that his girls are in their dormitory on time and when the two of them are seen together by Bascombe and a policeman, her fate is settled. She is as much out of a job as Billy is. Although she is warned of Billy's reputation as a layabout, a sponger and a ladies' man, Julie declares firmly that she will spend the evening with him. She's a strange one: nothing like any of the women Billy has known before. She says she isn't ever going to marry and when he asks her, teasing, if she would marry him, the layabout and sponger, Julie has only one simple response-'If I Loved You'. At the end of the evening they kiss, and the kiss is not the usual kiss Billy gets from his women. When they are married, Julie and Billy move in with Julie's cousin Nettie Fowler who runs a snack bar on the beach.

Billy is unable to get a job, and he becomes more and snore sombre and difficult as the workless days go by. He takes his frustration out on Julie and, one day, a one-sided row ends with his hitting her. Immediately the tale goes round town that Bigelow beats his wife. But if things are not as happy as they should be with the Bigelows, the rest of the folk are lively enough. `June Is Bustin' out All Over' and there is to be a big clambake on the beach. As for Carrie, she is still awaiting her wedding day and she and Enoch Snow pass the time in dreaming of their future together in the rosiest way ('When the Children Are Asleep'). Billy has taken to hanging around with a known evildoer called jigger Craigin, and jigger is heading him for trouble ('Blow High, Blow Low'). He has a plan to rob the mill owner of the payroll he brings each week to the captain of jigger's ship-three thousand dollars. Billy would never have to worry about a job again.

He is tempted, but when Mrs Mullin comes to try and woo him back to her employ and the carousel he realises that his old life is better and safer than crime. Only there's a catch: Mrs Mullin insists that he leave Julie. What's the use to her of a barker whom all the girls chase and who goes home to his wife? He'd better talk to Julie and see whom she puts first. When Billy goes to talk to Julie, however, she has something very different to tell him: she's going to have a baby. For Billy, that changes everything. Life has a future (Soliloquy). Now he has to make something of himself, he has to make money. There is no other way he knows of to do it: he will have to tkae part in Jigger's plan. Act II Anxious to provide for the coming child, Billy has been persuaded by Jigger, a shiftless sailor, to take part in a hold-up. They plan it for the night that the rest of the town is on the beach at A REAL NICE CLAMBAKE. Julie is troubled by Billy, who she knows has something on his mind.

The other girls sense her unhappiness, but Julie bravely shrugs it off (WHAT'S THE USE OF WOND'RIN'). Billy and Jigger attempt the robbery. They are thwarted; Jigger escapes, but Billy is caught by Mr. Bascombe, the would-be victim, who vows to hand him over to the police with the prospect of a long prison term. Cornered, disgraced and terrified for Julie and their unborn child, Billy kills himself. Julie cradles Billy as he dies in her arms and is comforted by an old saying the students used to recite in school (YOU'LL NEVER WALK ALONE). Fifteen years pass. Billy, escorted by a Heavenly Friend, arrives in the backyard of Heaven. Here he meets The Starkeeper, who informs him that he will never get into Heaven until he redeems himself. After some argument, Billy is given a chance. He is allowed to return to Earth for one day, during which he must perform one good deed. Afforded a glimpse of Louise, his lonely and unhappy fifteen-year-old daughter, Billy steals a star to give to her at their first meeting. But back on Earth, he is still the rough blunderer.

Louise is shy and won't accept his gift. Unable to reach her in any other way, Billy slaps his daughter - but the sting feels miraculously like a kiss to the girl. Louise explains this to her mother, Julie, who also sees the star that Billy has left behind and, instinctively, Julie understands. Nevertheless, Billy has not yet performed his good deed, and the slap should have been the last straw. But Billy persuades the Starkeeper to give him one last chance. Unseen, Billy watches Louise and her high school graduation. He observes his daughter's self-doubts, her insecurities. Invisibly, spiritually, Billy reaches out to her; he urges her to believe in herself, and he is filled with pride as he watches his daughter blossom with confidence. Turning to Julie, Billy says simply, "I loved you, Julie. Know that I loved you." And Julie, somehow, hears him. She joins Louise and the rest of the townsfolk in singing YOU'LL NEVER WALK ALONE ... as Billy heads towards Heaven. Cast 5 women, 5 men, chorus JULIE JORDAN - A real New England village girl, but 'deeper', quieter and more complex than her friends.

Her infatuation for Billy turns to a love which is proof against his fatal character weaknesses and lives on many years after the tragedy. BILLY BIGELOW - An earthy anti-hero with a reputation for being a lay-about and a ladies' man. He is a deeply troubled character ultimately redeemed by the love he could not communicate to his wife and unborn child. CARRIE PIPPERIDGE - As the stage direction says, 'a naive, direct and normal young woman of the period'. Julie's friend, her horizon is no further than domestic bliss with be-whiskered Mr. Snow. MRS. MULLIN - The carousel owner; a middle-aged woman who believes that Billy is not only her employee, but her property. ENOCH SNOW - Dour, respectable and ambitious in a small-town sort of way, he is an affectionate family-type too. JIGGER CRAIGIN - A real 'bad lot' who plays on Billy's weaknesses, and deserts him when things go horribly wrong. NETTIE FOWLER - The motherly soul of the village. MR. BASCOMBE - The self-important millionaire and richest man around.

HEAVENLY FRIEND / STARKEEPER - Billy's guides and mentors, who tell him the home-truths he really needs. Musical Numbers: OPENING ACT 1 DUET - Mister Snow - (Julie and Carrie) - "You're a queer one, Julie Jordan" SONG - If I Loved You (Julie with Billy) - "If I loved you, time and again I would try to say" SCENE CHANGE CHORUS - June Is Bustin' Out All Over (Girls, Men, with Carrie) - "March went out like a lion" ENCORE - June Is Bustin' Out All Over GIRLS' DANCE REPRISE - Mr Snow - (Girls and Carrie) - "When you walk down the aisle" SEQUENCE - When the Children Are Asleep - (Carrie and Mr.

Snow) - "I own a little house" CHORUS - Blow High, Blow Low - (Men with Jigger) - "Blow high, blow low, a-whalin' we will go!" DANCE - Hornpipe SOLO - Soliloquy - (Billy) - "I wonder what he'll think of me" FINALE - ACT I CHORUS - A Real Nice Clambake - (Nettie and chorus) - "This was a real nice clambake" ENSEMBLE - Geraniums in the Winder - (Snow, Jigger, Chorus) - "Geraniums in the winder" SONG - What's the Use of Wond'rin' - (Julie) - "What's the use of wond'rin'" CHANGE OF SCENE SONG - You'll Never Walk Alone" - (Nettie) - "When you walk through a storm" INCIDENTAL MUSIC - Entrance of Heavenly Friend SONG - The Highest Judge of All - (Billy) - "Take me beyond the pearly gates" EXIT MUSIC - CHANGE OF SCENE BALLET INCIDENTAL MUSIC - (Carrie) - "I'm just a tom-boy" PORCH SCENE Carousel the Musical Carousel 20

12 London Revival The Barbican; UK Tour - Opened 15 Aug 2012, closed 15 Sep 2012 Cast: Julie: Gillene Herbert & Katherine Manley, Carrie: Claire Boulter & Sarah Tynan, Billy: Eric Greene & Michael Todd Simpson, Nettie: Elena Ferrari & Yvonne Howard What was your favourite production?

Add your thoughts in the comments box Synopsis The show begins in 1873 in a small seaside community in Maine. Throughout the Prologue (“The Carousel Waltz”) two mill workers, Julie Jordan and Carrie Pipperidge visit the fair and catch the eye of Carousel barker Billy Bigelow. Mrs Mullin, the owner of the Carousel scolds Billy and tells Julie never to return. Billy sees that she is jealous and embarrass her, causing her to fire him. As the girls are left alone, Carrie pushes Julie to admit her feelings towards Billy but she seems somewhat shy (“You’re a Queer One Julie Jordan”). Carrie is thankful that she now has a beau so she can tell Julie all about her own love, “Mister Snow”. Billy returns to the girls in time for Mr Bascombe, the mill owner to see her about to break curfew. He offers to escort her back to the mill but she refuses and is fired. He warns her about the likes of Billy. As the couple are left alonei they talk about what it would be like if they loved each other and struggle to contain their mutual attraction, (“If I Loved You”).

A month later the townsfolk are preparing for a summer clambake with Julie’s cousin Nettie Fowler (“June is Bustin’ Out All Over”). Julie and Billy are now married and live with Nettie, but she confides in Carrie that Billy has hit her, Carrie is more smitten with her love life, introducing Mister Snow to the girls (“Mister Snow Reprise”). Billy is rude to both Enoch Snow and Carrie and goes off with the villainous Jigger, much to Julie’s dismay. Enoch and Carrie are left alone to plan their perfect life together, which Enoch expects will involve many children, (“When the Children are Asleep”). At the shipyard Jigger and his shipmates sing about their life on the sea, (“Blow High, Blow Low”). He tries to recruit the unemployed Billy to assist with a robbery which he thinks will make them a lot of money. He is unsure as it may involve the killing of Julie’s ex-boss, Mr Bascombe. Mrs Mullin reappears to tempt Billy back to the Carousel but he turns her down. Julie tells him that she is pregnant and Billy is instantly happy.

He contemplates live with his future son, or daughter, (“Soliloquy”). Everyone prepares to attend the Clambake and Billy decides to join Julie, so he can carry out the robbery with Jigger. Act Two opens with the whole cast talking about the fantastic clambake, (“This Was a Real Nice Clambake”). Jigger makes an effort to be noticed ahead of the robbery and flirts with Carrie as Enoch finds them in a compromising position, (“Geraniums in the Winder”). The girls attempt to calm Carrie down and Julie gives them her philosophy on love, singing “What’s the Use of Wonderin’?” As the treasure hunt begins, Billy and Jigger return to shore to deal with the robbery. They pass the time playing cards and staking a claim at the money they are about to steal. The robbery goes wrong and Mr Bascombe pulls out a gun to use on Jigger who gets away. To escape punishment Billy stabs himself just in time for Julie to enter and speak to him one final time. As everyone returns from the Clambake, Julie is left alone with the dead Billy and Nettie helps her in her hour of need, (“You’ll Never Walk Alone”).

Billy is greeted by a Starkeeper who takes him to heaven. He tells him he did not do enough good to get into heaven, but can still return to earth for one day to redeem himself. Fifteen years have passed in a flash and he tells Billy he should return to earth to help his daughter Louise. Through an extended “Ballet” we see Louise alone on the beach, lonely and bitter, being taunted by the children of Carrie and Enoch. Billy observes, and steals a star before deciding to help her on earth. Julie is visited by Carrie and her perfect family who tell her about their recent trip to New York. Their life is exactly how Enoch predicted, with everything running like clockwork. Their oldest son tries to flirt with Louise but she is mean to him and he taunts her about her father. Louise is angry, and Billy lets himself be seen, startling her on her porch. He offers her the star, but loses his temper, slapping her after she refuses to take it. She runs to get her mother as Billy asks to be invisible. Louise asks if it is possible to be hit and not feel a thing, and she tells her that it is.

Although she can’t see Billy, she finds the star and seems to feel his presence, (“If I Loved You Reprise”). At Louise’s graduation ceremony the class are encouraged not to be held back by their parents or bask in their success, but instead live for themselves. As the ensemble sing a reprise of “You’ll Never Walk Alone” Billy tells his daughter to believe in the words, and she reaches out to a classmate, determined not to live life as a loner. He tells Julie he loves her and as they unite with a new power, Billy is granted access to heaven.

Songs If I Loved You – Julie, Billy June Is Bustin’ Out All Over – Nettie & Ensemble You’re A Queer One Julie Jordan – Billy, Carrie Mister Snow (Reprise) – Nettie, Girls When The Children Are Asleep – Enoch Snow, Carrie Blow High, Blow Low – Jigger, Men Soliloquy – Billy A Real Nice Clambake – Ensemble Geraniums In The Winder/Stonecutters Cut It On Stone – Jigger, Ensemble What’s The Use Of Wondrin’ – Julie You’ll Never Walk Alone – Nettie Incidental (Entrance of Heavenly Friend) The Highest Judge Of All – Billy, Starkeeper Ballet – Orchestra Carousel Reviews & Ratings - IMDb IMDb 2 January 2017 12:47 PM, PST NEWS 50 out of 59 people found the following review useful: It's a Wonderful Death from N Syracuse NY 1 January 2004 In recent years it has become commonplace to site Frank Kapra's `It's a Wonderful Life' as one of the greatest films ever. It has become a Christmas tradition. I feel that film is overrated.

The problem I have with it is that it stacks the deck in trying to convince us of the value of human life. George Bailey is a successful banker- not exactly rich but successful enough that he contributed a lot of material things to people's lives, including a housing development named after him. He also saved his brother's life so his brother could save the men on that ship, etc. etc. The message is that you are of value if you have done the sort of things they build statues of people to honor. On top of that, without George, everybody in this town is nothing. They are all drunks or crooks or prostitutes. They have no capabilities of their own. They are all dependent on George Bailey. I much prefer Carousel, whose hero is a bum. If you were to ask nearly everybody in town- a town that has done just fine without him, as a matter of fact, what Billy Bigelow contributed to their lives, they would say nothing- if they remembered him at all. The only people who would have anything good to say about him are those that he loved and who loved him. And that is the bottom line.

If a person can be redeemed by his ability to love and to inspire love in others, we all have a chance. If you have to have a bank and town named after you, the bar is too high for most of us. As a musical, this is as good as it gets. `If I loved you' is rivaled only by `Some Enchanted Evening' as a love song and it means more as it's revealing of the character of this crude man who can't express what's in his soul and this shy girl who wants only to love and be loved. `Soliloquy' is the dramatic highlight in the history of the musical as Billy works out all his hopes and dreams in his mind and vows to do anything he can to make his daughter's life special. By over reaching his bounds, he does the opposite. `What's the Use of Wondering' expresses the doubts anyone entering a relationship has and is doubly moving as it's sung by Julie, for whom we know the song will have special relevance. `When You Walk Through a Storm' offers hope to us all. Those old guys at graduations are really worth listening to. Was the above review useful to you?

36 out of 37 people found the following review useful: Classic R&H Musical With Superb MacRae and Jones... from U.S.A. 24 June 2001 Rodgers & Hammerstein's brilliant stage musical comes to the screen with most of the music intact--and what songs they are. Each one is a gem and fully integrated into the tragic storyline. Gordon MacRae stars as Billy Bigelow, the amusement park barker who tries to change his life when he marries Julie Jordan (Shirley Jones)-- with tragic results. MacRae's robust baritone is showcased in his big number, 'Soliloquy', performed at seaside with the ocean backdrop. Only occasionally is the use of stagebound sets a jarring note--but overall, the look and feel of the movie is one of genuinely moving musical drama. Delightful performances from Barbara Ruick and Robert Rounseville as Mr. and Mrs. Snow. Their 'When The Children Are Asleep' is a charming highlight. Claramae Turner does an outstanding job on 'You'll Never Walk Alone'. Cameron Mitchell is a slyly villainous Jigger.

Filming of the 'June Is Bustin' Out All Over' number in Boothsbay Harbor, Maine is a production highlight and choreographer's dream. Gordon MacRae and Shirley Jones are in excellent voice for 'If I Loved You'. What more could you want? An exceptional movie musical that ranks with the best of Rodgers & Hammerstein's works. Was the above review useful to you? 36 out of 40 people found the following review useful: excellent Rodgers and Hammerstein musical from United Kingdom 15 November 2003 This is the musical which gave Gordon MacRae his greatest solo song, namely the 7 minutes long "Soliloquy", in which Billy the circus barker speculates about his unborn child, first with bluster and pride if it is a boy, and then with insecurity and despair if it is a girl he can't buy things for. Billy, as we have seen in the opening sequence of the film, is telling his story to one of the angels in heaven, where he has gone after a violent and premature death.

So we see his tale unfold, as he meets pretty little Julie Jordan (Shirley Jones, excellent), marries her, and through fate and bad luck, gets separated from her. The subject matter is darker than Oklahoma (the film version of which also starred MacRae and Jones) but the sheer exuberance of songs such as "June is Bustin' Out All Over"; "A Real Nice Clambake"; "When The Children Are Asleep" and "If I Loved You", plus of course the best-known song from the show, "You'll Never Walk Alone" takes the story to another level and makes this film enjoyable to watch. Robert Rounsville makes a fine bombastic Mr Snow and has a fabulous voice; MacRae and Jones have their memorable duet to the lovely melody of Rodgers' score. There is also an excellent dance sequence, not as extensive as on stage, but still effective, where the daughter of Billy and Julie imagines an escape from her lonely and ostracised life. Was the above review useful to you? 31 out of 35 people found the following review useful: Wonderful, with world's BEST love song!

from Seattle, WA 25 May 1999 This is a great film, based on a great show. It is perfectly cast, and has the world's best love song (If I Loved You) in a smashingly romantic setting. I shudder to think what the film would have been like with several who were possible leads--Frank Sinatra and Gene Kelly--because Gordon MacRae is so right--physically and vocally--for the role, and Shirley Jones is marvelously young and innocent and beautiful. The new (as of 5/99) DVD production is stunning, bringing wide screen, impeccable color, sharp definition, and glorious sound to the mix. This Rodgers and Hammerstein show is a classic, and must not be missed! Was the above review useful to you? 28 out of 33 people found the following review useful: This ranks as my favorite Rodgers and Hammerstein from United States 3 April 2001 For years, I searched for this film on TV, plus the old Magnetic video copy released during the late 1970's. However, other than the occasional pay channel, it was never on.

Local channels would play all of the other Rodgers and Hammerstein films, but this one was not one of them for some reason. I had heard the score before. It was perhaps Rodgers and Hammerstein's most RECORDED score. There were two major Broadway cast albums, both starring John Raitt, as well as a variety of studio-recorded albums. It was even done for TV in the 1960's with Robert Goulet, a version I hope eventually will be released. The score is one of the most beautiful to listen to, and the lyrics are inspiring. The movie leads, Gordon MacRae and Shirley Jones, are perfectly cast, and their singing voices beautifully fill the roles. They are even better in this than they were in "Oklahoma!". As Julie's best friend, Carrie, Barbara Ruick is a perfect contrast to Jones' innocent Julie. She is unintentionally flirtatious, yet not "easy" like Gloria Grahame's Ado Annie in "Oklahoma!". Those two roles are very similar in the sense that they are both the second leads with a comic twist, but I found Ruick's Carrie more developed character wise. As her leading man, Robert Rouseville's Mr.

Snow can seem a bit stuffy, but his character is a product of his times: quietly macho, not in the romantic sense, but that a girl like Carrie simply wanting a home and family would be perfect for him. Cameron Mitchell's Jigger Crane, the "Jud Fry" of the story, comes on as a some-what light-hearted villain; it is his actions which will ultimately affect the destinies of our lovers Julie and Billy. As the pricklish Mrs. Mullins, owner of the carousel, delightful Audrey Christie was perfectly shrewish. Finally, as the sweet and wise Aunt Nettie, Claramae Turner was wonderful as the musical's voice of reason, a role often scene in Rodgers and Hammerstein musicals. Her rendition of "You'll Never Walk Alone" is unforgettable. It is totally believable that Julie and Billy would fall for each other. They are both attractive young adults. Yes, he did beat her, and she stayed with him in spite of this. This was the 1870's, and women did stay with the men they loved in spite of things like this. One of the reasons things like this are important to be seen today is to show how far women have come.

In the man-dominated New England of that time, women were secondary citizens, so it is realistic to portray Julie in this light. Sad yes, but a part of history. The New England sets are breath-taking, particularly during the "June is Bustin' Out All Over" number, and in the climactic clambake. They are beautifully photographed, making the film mesmerizing to look at. Between the sumptuous singing of MacRae and Jones and the wonderful cinemascope technicolor, the film is simply outstanding. I find it hard to find any faults with this film, and could simply watch it over and over. Was the above review useful to you? 25 out of 30 people found the following review useful: Beautiful and inspiring from United States 17 February 2002 Shirley Jones is very believable as Julie Jordan, the lovely and ever patient mill worker who falls for a carousel barker, Billy Bigelow. With such heart felt ballads as "If I Loved You" and "You'll Never Walk Alone" it definitely ranks as one of the essential Hollywood musicals. Carousel is just about the only musical made during this period that deals with darker themes (i.e. date rape, domestic abuse).

One could say that it even argues in favor of birth control. Carousel will never look dated because its themes are timeless and apply to the human spirit no matter what year it is. Everybody can identify with Billy to a degree and everybody can not help but feel a deep respect for Julie by the end of her personal journey. Fans of musical drama will treasure Carousel for years to come. Was the above review useful to you? 19 out of 20 people found the following review useful: "He's Your Fellow And You Love Him, That's All There Is To Say" from Buffalo, New York 6 May 2007 I saw Carousel for the very first time in its first release when it played a double bill with Oklahoma. You can't do much better than that for an introduction to the American Musical Theater. It would get a perfect 10 had it been done with the original two leads that were set for the show, Frank Sinatra and Judy Garland. Judy backed out before production started and Sinatra shortly after that, so Gordon MacRae and Shirley Jones got to do a second Rodgers&Hammerstein classic. Carousel is based on the Ferenc Molnar play Liliom and the original setting is in Molnar's native Hungary.

On Broadway it was done by Eva Le Gallienne and Joseph Schildkraut and later in revival by Ingrid Bergman and Burgess Meredith. One man who did it in summer stock was Tyrone Power who if a straight dramatic version of Liliom had ever been done, would have been perfect. Whether he's Liliom in Hungary or Billy Bigelow in 19th century New England, the part is one for a hero/heel that Tyrone Power patented on the screen. Probably Gordon MacRae benefited in no small way in having Power's favorite director Henry King in charge of Carousel. Richard Rodgers was also used to writing for a hero/heel having done Pal Joey with his former partner Lorenz Hart. Billy is that kind of guy, a carousel barker and boy toy to owner Audrey Christie when he spots Julie Jordan and her friend Carrie Pipperidge, a couple of mill workers. It's love at first sight and marriage shortly after, but Billy's not a guy to change his layabout ways and it ends in tragedy. One reason that Sinatra was also so right for the part was that he had made a successful hit record of Billy's Soliliquy back in 1945 when Carousel debuted on Broadway.

It was a groundbreaking piece of musical theater that Dick Rodgers and Oscar Hammerstein were responsible for in the Soliliquy. Billy's just been told by Julie he's about to become a father. In an almost 10 minute number he bares his soul to the audience and sings/thinks aloud the moves he's going to make. The song is almost operatic in quality, it takes a real singing actor to put it over like Sinatra, like MacRae is here, like John Raitt in the original cast on stage. Though it's not Julie's song, Judy Garland had a successful record with You'll Never Walk Alone. I'm sure she would have sung it in the film had she seen it through. It's probably the big hit song from the score, still an inspiring number today. Rounding out the cast is Cameron Mitchell as Billy's no good pal Jigger, Robert Rounseville and Barbara Ruick as Mr. Snow and Carrie, the second leads and from the Metropolitan Opera Claramae Turner as Julie's cousin Nettie who does sing You'll Never Walk Alone.

Two more who are perfectly cast are John Dehner as the officious mill owner that employs the girls and the heavenly star-keeper, Gene Lockhart in one of his last roles. Even more than in Oklahoma, Agnes DeMille's ballet numbers are used to advance the plot. From the exuberant June Is Busting Out All Over to the dance that Billy and Julie's daughter does, all are done with taste and style. Carousel is both tragic and yet uplifting and inspiring. It's a musical for all the ages to come. Was the above review useful to you? 18 out of 20 people found the following review useful: Beautifully filmed version of Rodgers & Hammerstein musical from North Woodmere, NY 3 March 1999 Rodgers & Hammerstein's groundbreaking musical version of Molnar's "Liliom" has been given a fine rendering on film. Gordon Macrae is the carousel barker, Billy Bigelow, who falls in love with the lovely millworker, Julie Jordan, portrayed by the talented Shirley Jones. The road to happiness is paved with wife abuse, criminal acts, and tragedy, not the usual items found in musicals.

The score of "Carousel" is probably one the greatest ever composed for the musical theatre. "If I Loved You" is sung by the couple in a lovers' lane setting where their attitudes and emotions are conveyed by Rodgers' bittersweet melody and Hammerstein's wonderful lyrics. "June is Bustin' Out All Over" is danced and sung by the ensemble of youthful denizens of the Maine town where the story is set. The choreography is delightful, somewhat reminiscent of the athletic-balletic dancing in "7 Brides for 7 Brothers". Gordon Macrae's moving performance of "Soliloquy" along the rocky seashore with its crashing waves is nothing short of perfection. Frank Sinatra was originally to have the role, but to be frank, he looked a little silly in the costume worn by the character as seen in a still photograph shown in a documentary about Rodgers and Hammerstein. The cinematography is spectacular using the Cinemascope 55 process. Of course, the film must be seen in its widescreen version available on laserdisc and soon to be released on DVD. I first saw "Carousel" at the Roxy Theatre when it opened in 1956.

The huge screen seemed like a window looking out on the world of these star-crossed characters. The sound was stereophonic and still is in its video incarnations. Supporting performances are also fine. Cameron Mitchell is Billy's bad influence. Barbara Ruick and Robert Rounsville have magnificent voices and sing the lovely "When the Children Are Asleep" against the panoramic scenery of a June sailboat ride to a clambake. At the clambake, the chorus lead by Claramae Turner sings the heart out of "A Real Nice Clambake". Turner also sings the anthem "You'll Never Walk Alone" at a tragic turning point in the film. The best way to see "Carousel" is in a theatre, but see it. It is sometimes shown on American Movie Classics cable channel in its original widescreen version. Lean back and enjoy. Was the above review useful to you? 20 out of 24 people found the following review useful: The very finest of Rodgers and Hammerstein! The film of this classic musical is a joy to watch and listen to. The music is undoubtedly the finest Rodgers and Hammerstein score.

Of the many fine moments in the film two astounding highlights must be Billy's Soliloquy and the Shirley Jones' and Gordon MacRae's lover's duet "If I loved you". To this is added two great ballet sequences "June is Bustin' out all Over" and Louise's ballet. The film is Rogers and Hammerstein at their most dark and introspective, which may account for the film's relatively lacklustre reception at the time of its initial release but the at the same time explains the ongoing appeal of this truly timeless classic film. It is a fine memorial to both composer and lyricist and to the artistry of Gordon MacRae whose performance of the soliloquy is the benchmark against which all performances are judged. The film was produced in Cinemascope 55 a large film fomat which overcame many of the problems that were inherent in early Cinemascope films (even though the film was actually released only in standard 35mm form ..a bit like a 35mm print of a 70mm film this still results in a far better image) and gives the film its immaculate look.

The Fox DVD is crisp and the sound, though very clearly a 1950s recording is clean and well balanced. I just wish I could see this film in a cinema on the biggest of screens... it would be an even more special experience! Was the above review useful to you? 18 out of 25 people found the following review useful: More special than "Oklahoma" movie Author: gkeith_1 18 October 2003 The underdog of the two movies, but not in my book. "Carousel" so sweet, but I hate the darker parts. Hard to watch Jigger & Billy in their evil planning & trying to carry it out. I like all the song-and-dance movies. Here, "Louise's Ballet" really special, with Jacques d'Amboise now an older ballet teacher & mentor of youth. This movie shows him when he was borrowed as a young star (prodigy) from American Ballet Theater (?). Hate the part where Louise is taunted by all those rich kids. Liked the part at the end where Julie is older & more mature; wiser. Still misses her ne'er-do-well husband.

Loved the boat song with Julie's two friends: "When the Children Are Asleep". A tearjerker, but how true. This story gives a midwesterner a view of late 1800s New England life, about uneducated young people. A female mill hand, and a male carousel barker. No wonder they had no money. People were going to college in those days, but not very many apparently. Billy's other money-making alternative was to steal. So sad. Gordon MacRae had such an awesome voice. Shirley Jones' voice is beautiful, as is that of Claramae Turner (Cousin Nettie). The big group dance off Nettie's roof is totally excellent & breathtaking. Reminds me of "7 Brides for 7 Brothers". Too bad people these days only know of Shirley Jones from "Partridge Family". 9/10 (dark violence) Carousel :: Rodgers & Hammerstein :: Show Details Carousel Background The Theatre Guild, a theatrical producing organization which flourished on Broadway from the early ‘20s for over half a century, hit upon successful formula of turning a few of its classic plays into classics of musical theatre.

Their production of Gershwin’s PORGY AND BESS was based on their production of DuBose Heyward’s PORGY; likewise, Rodgers & Hammerstein’s OKLAHOMA! was based on Lynn Rigg’s GREEN GROWN THE LILACS. In 1921 The Guild presented the American premiere of a new play called LILIOM by the renowned Hungarian playwright, Ferenc Molnar. Benjamin Glaser was the translator (although a fascinating and never-proven rumor has suggested that an early translation of LILIOM was provided by Rodgers’ first partner, Lorenz Hart), and Eva Le Gallienne created the role of Julie to Joseph Schidkraut’s portrayal of the title role. LILIOM was a critical and popular success for the Guild; set on the outskirts of Budapest, its mix of whimsy and pathos, tragedy and fantasy, hit a chord with the American public. The Guild knew they had a winner; more than that, they felt its potential could be further exploited. A preliminary request to Molnar that LILIOM be musicalized, following on the heels of PORGY AND BESS, was rejected; but a subsequent proposal, this time fresh on the heels of OKLAHOMA!

and with the understanding that the authors of that musical adaptation would tackle this one as well, met with Molnar’s approval. LILIOM could sing, if Rodgers & Hammerstein wrote the score. However, there was yet another problem, this time on the American side of the equation: in 1945, at the height of World War II and the Nazi occupation of Europe, Budapest was not a romantic of uncontroversial setting for a musical. If LILIOM were to work, it would have to be relocated, and Rodgers and Hammerstein were reticent to do so. Theatre Guild producer Theresa Helburn suggested a New Orleans setting, with Liliom becoming a tough and exotic Creole character. Hammerstein demurred on the grounds that his lyrics, always rife with dialect of the setting they were placed in, would be riddled with so many “ze’s” and “zose’s” as to make the songs sound like so manu buzz saws. Helburn was determined not to let the idea go, and she persisted. It was Richard Rodgers who came up with the concept of New England in the late 19th century—and suddenly the idea fell into place.

While visions of clambakes and fishing boats danced in their heads, the authors went to work. The very first song they wrote for the score was the most daunting—Billy’s powerful and insightful “Soliloquy.” As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, story, passion and heartfelt emotion—in an unprecedented eight-minute solo. After the “Soliloquy” everything fell into place: the upbeat choral numbers ( “June is Bustin’ Out All Over,” “This Was a Real Nice Clambake”), the love songs (“If I Loved You,” “When I Marry Mister Snow,” “What’s the Use of Wond’rin,” and “When the Children are Asleep,”) and the haunting and inspirational “You’ll Never Walk Alone.” CAROUSEL proved that the extraordinary innovations of OKLAHOMA! were no one-time fluke; the opening scuttled the traditional overture and replaced it with a lush “Carousel Waltz” joined by a storied prologue in mime; and this was followed by the now-classic “Beach Scene” in which dialogue and snatched of song we intermingled to breathtaking effects.

CAROUSEL shared with OKLAHOMA! its stellar creative team: authors Rodgers & Hammerstein of course, and director (Rouben Mamoulian) and choreographer (Agnes de Mille.) After tryouts in New Haven and Boston, CAROUSEL opened at Broadway’s Majestic Theatre on April 19, 1945, where it ran for 890 performances. While not the spectacular success the OKLAHOMA! was, CAROUSEL managed to do the impossible—follow a mammoth success and stand on its own right. Audiences in the throes of World War II could not help but be moved by the story of a young widow raising a child without its father. The final scene, in which Bill comes back to Earth spiritually and reaches out to Julie and their daughter Louise, was played before countless war widows, parents, children and siblings who had lost a loved one overseas. The effect of CAROUSEL and “You’ll Never Walk Alone” is haunting, to this day. The original Broadway cast featured John Raitt as Billy, Jan Clayton as Julie, and Jean Darling as Carrie.

Winner of the New York Drama Critics’ Circle Award as Best Musical of 1945, the Broadway run was quickly followed by a two year national tour, as well as countless productions throughout the world. In 1950, CAROUSEL premiered at London’s Theatre Royal Drury Lane, where it played for 566 performances, and in 1956 the motion picture version, starring Gordon MacRae as Billy and Shirley Jones as Julie, was released. Written By: Bert Fink OKLAHOMA!, the first musical Rodgers & Hammerstein wrote together, wasn’t a mere success: it was a phenomenon. An artistic triumph that changed the course of musical theatre, it shattered box office records when it opened in 1943, outran every show before it, held Broadway's longevity crown for fifteen years, and launched the Rodgers & Hammerstein partnership as Broadway's Golden Team in Broadway’s Golden Era. Inevitably the question arose: what could possibly follow OKLAHOMA!? In his autobiography Rodgers recalls the sage advice he received from film mogul Sam Goldwyn: "This is such a wonderful show!" Goldwyn bubbled. "You know what you should do next?

Shoot yourself!" Fortunately Rodgers & Hammerstein had other ideas in mind. Their first assignment after OKLAHOMA! was a new work in another medium altogether—writing the score for a movie musical called STATE FAIR (1945), a charming depiction of homespun Americana that introduced "It Might as Well Be Spring," the Academy Award winner for Best Song of the Year. Still, Hollywood was only a detour on the return to Broadway. As with OKLAHOMA!, it was Rodgers & Hammerstein’s producers, Lawrence Langner and Theresa Helburn of The Theatre Guild, who provided the team with the source for their next musical. In two previous, successful instances Helburn and Langner had recycled Guild plays into Guild musicals (turning PORGY into PORGY AND BESS, and GREEN GROW THE LILACS into OKLAHOMA!). Now, the Guild wanted Rodgers & Hammerstein to make a musical out of LILIOM. Hungarian playwright Ferenc Molnar’s elaborate fantasy had its American premiere under the auspices of the Theatre Guild, in a 1921 production translated by Benjamin F.

Glazer that starred Joseph Schildkraut in the title role and Eva Le Gallienne as Julie. The property was rich with musical potential, but before it could be transformed Helburn and Langner had to convince not only their skeptical American authors, but also their Hungarian one. Molnar had already turned down several requests to turn LILIOM into an opera. And he was ready to resist again, until, at the Guild's invitation, he attended a performance of OKLAHOMA! and was instantly won over. LILIOM could sing, he decreed, if Rodgers & Hammerstein wrote the score. But Rodgers & Hammerstein had their doubts too. It was not the themes of domestic violence and fateful tragedy in LILIOM that deterred the authors—in fact these issues only served to whet their appetite for challenging work—but the play's locale: Budapest, Hungary. In 1944 Budapest was ravaged by war and setting a play there would only compete with the headlines or, worse, seem exploitative. If a musical of LILIOM were to work, they concluded, it would have to be relocated, and Rodgers and Hammerstein were reluctant to do so.

Helburn suggested a New Orleans setting, with Liliom turned into a tough and exotic Creole character. Oscar Hammerstein II demurred on the grounds that his lyrics, which were always steeped in the dialect of their locale, would become riddled with the "ze's" and "zose's" of the Creole accent and end up sounding like a chorus of buzz saws. But then Richard Rodgers came up with the concept of New England in the late 19th century and everything fell into place. Liliom would become Billy Bigelow, barker on a carousel in a small fishing village, and Julie would be featured as one of the local millworkers. While images of clambakes and lighthouses danced in their heads, the authors went to work. The very first song they wrote for the score was the most daunting—Billy’s powerful and insightful "Soliloquy." As daring as anything in the groundbreaking OKLAHOMA!, this number provided character, motivation, passion and heartfelt emotion—in an unprecedented eight-minute solo. Structurally, CAROUSEL proved as daring as OKLAHOMA! in style and form, while telling a story that was far more sophisticated.

Here, in addition to Billy’s "Soliloquy," the innovations included the opening, which scuttled the traditional overture entirely and replaced it with a lush "Carousel Waltz" that underscored a storied prologue in mime; and the now-classic "If I Loved You" scene, in which dialogue and fragments of song were intermingled to breathtaking effects. CAROUSEL began rehearsals in early 1945. Guiding it was OKLAHOMA!'s stellar creative team: authors Rodgers & Hammerstein, producers Helburn and Langner, director Rouben Mamoulian, choreographer Agnes de Mille and costume designer Miles White. Featured in the original cast were John Raitt as Billy, Jan Clayton as Julie Jordan, and Jean Darling as Carrie. After tryouts in New Haven and Boston, CAROUSEL opened at Broadway's Majestic Theatre on April 19, 1945, and eventually ran for 890 performances. Even the skeptics were confounded: while it could never be the unexpected revelation that OKLAHOMA! was, CAROUSEL did the impossible—it followed a smash hit by succeeding in its own right.

Audiences in the throes of World War II responded deeply to its story of a young widow raising a child alone, and its spiritual imagery had a profound impact on those who had lost a loved one overseas. The effects of CAROUSEL and its authemn, "You’ll Never Walk Alone" are haunting to this day. Winner of the New York Drama Critics’ Circle Award as Best Musical of 1945, the Broadway run was followed by a two year national tour. In London CAROUSEL followed OKLAHOMA! directly into the Theatre Royal, Drury Lane, opening in June of 1950 and playing for over a year and a half. In 1956 the motion picture version was released by Twentieth Century Fox. Filmed on location in Boothbay Harbor, Maine, it was originally slated to star Frank Sinatra as Billy and Judy Garland as Julie. However, she withdrew prior to filming and he left over a contract dispute during the first weeks of shooting. They were replaced by the OKLAHOMA! movie co-stars Gordon MacRae and Shirley Jones. CAROUSEL has been performed by hundreds of theatre and opera companies throughout the world.

Notable productions include the Music Theater of Lincoln Center with John Raitt re-creating the role of Billy (1965); a television version starring Robert Goulet with choreography by Edward Villella, broadcast on ABC-TV (1967); and a summer run at the U.S. Pavilion of the 1958 Brussels Exposition, with Jan Clayton re-creating the role of Julie. Director Nicholas Hytner, choreographer Sir Kenneth MacMillan and designer Bob Crowley collaborated on the revelatory 1992 Royal National Theatre production of CAROUSEL in London, which played to sold-out houses in the Lyttleton Theatre before transferring to the Shaftesbury Theatre in the West End the following September, where it was presented by Cameron Mackintosh. In March 1994, CAROUSEL marked its first return to Broadway since the original run, playing for a year at the Vivian Beaumont Theater.

Presented by Lincoln Center Theater, this CAROUSEL went on to receive a record-setting five Tony Awards (the most of any show that season), including Best Director of a Musical (Hytner), Best Choreography (MacMillan), Best Scenic Design (Crowley) and Best Revival of a Musical 1994. A Japanese production played extended engagements in Tokyo, Nagoya and Osaka in 1995, and a U.S. National Tour visited over 40 cities from February of 1996 through May of 1997, and starred Broadway stars to be Patrick Wilson, Sarah Uriarte Berry and Jennifer Laura Thompson. In 2002, Carnegie Hall hosted a concert performance with Hugh Jackman, Audra McDonald, Philip Bosco, Blythe Danner, John Raitt, Norbert Leo Butz, Jason Danieley, Judy Kaye and Lauren Ward. That same year, Emily Loesser appeared in CAROUSEL at the Royal Festival Hall in London. Shirley Jones played Nettie at the Reagle Theatre in 2005.

In 2007, the Boston Pops' CAROUSEL featured Aaron Lazar, Liz Callaway, Jason Danieley and Marin Mazzie, while R&H opera star Lesley Garrett played Nettie in a 2008 West End revival. CAROUSEL had always been Rodgers & Hammerstein’s personal favorite; the latest turns on the CAROUSEL prove that their opinion is still shared by audiences everywhere. YOU’LL NEVER WALK ALONE "You’ll Never Walk Alone" (music by Richard Rodgers, lyrics by Oscar Hammerstein II) was written for the 1945 Broadway musical play CAROUSEL. The song highlights a momentous plot turn early in Act II, and is reprised as the musical’s powerful and inspirational finale. From the very beginning, this song has always had a special resonance and meaning beyond its context and function within the score for CAROUSEL. During the musical’s original Broadway run, with the world at war, many in the audience who had a husband, a brother, a son or a lover fighting overseas, found solace in its meaning and its message.

In addition to numerous recordings of the song on CAROUSEL cast albums and the motion picture soundtrack, "You’ll Never Walk Alone" has been recorded by dozens of pop, rock, gospel, country western and opera stars, including: Louis Armstrong, Chet Atkins, Shirley Bassey, Glen Campbell, Ray Charles, Perry Como, Michael Crawford, Placido Domingo, Aretha Franklin, Judy Garland, Gerry and the Pacemakers, Marilyn Horne, Mahalia Jackson, Patti LaBelle, Cleo Laine, Mario Lanza, Darlene Love, Jim Nabors, Olivia Newton John, Pink Floyd, Elvis Presley, The Righteous Brothers, Nina Simone, Frank Sinatra, Kiri Te Kanawa, Conway Twitty and Dionne Warwick. Rodgers & Hammerstein’s "You'll Never Walk Alone" has a unique history in Great Britain where a 1963 cover version of the song by the Liverpool band Gerry and the Pacemakers was embraced by the locals (known as "scousers"), and lead to its adoption as the motto and anthem of the Liverpool Football Club. Subsequently, it has become ubiquitous at football (soccer) matches all over the world.

True to the song's intent, it has also provided inspiration in times of peril, and has served as a potent fundraiser for causes borne out of disaster. In 1985, a recording of "You’ll Never Walk Alone" featuring British pop and rock stars, was put together to raise funds for victims of the Bradford Stadium tragedy — and did: the song was a Number One single in Britain throughout the summer of 1985, and raised hundreds of thousand of pounds for the cause. In September 1997, on the eve of the funeral for Diana, Princess of Wales, scores of Londoners who had gathered for the event broke into spontaneous, subdued choruses of "You’ll Never Walk Alone." In happier times, BBC live coverage showed over 750,000 Britons gathered on the Mall in front of Buckingham Palace in June 2002, singing "You'll Never Walk Alone" during the 2002 Golden Jubilee of Queen Elizabeth II.

In the United States in recent years, "You’ll Never Walk Alone," long associated with Jerry Lewis’ Labor Day Muscular Dystrophy telethons, has also been adopted by such causes as Hurricane Andrew and Hurricane Katrina relief and the annual national AIDS Walk campaigns. Marilyn Horne, Joan Baez and others have sung "You’ll Never Walk Alone" at AIDS Walk rallies in New York, Los Angeles, San Francisco, Philadelphia and Chicago, and in 1992 Patti LaBelle made a new recording of the song for a national AIDS Walk public service announcement. Bringing the song full circle, at the 1994 AIDS Walk New York, Shirley Verrett and the cast of the Broadway production of CAROUSEL sang "You’ll Never Walk Alone" on the Great Lawn in Central Park before a crowd of 30,000. 17 years later, CAROUSEL co-star Audra McDonald sang the song, to a crowd now swollen to over 45,000. Rolling into the 21st Century, "You'll Never Walk Alone" continues to inspire the world at times of triumph and tragedy.

In 2002, opera great Renee Fleming sang it at Ground Zero as part of the first year anniversary commemorations of the devastating 9/11 attacks; in 2009 she sang the song for a worldwide audience once again, this time backed by the US Naval Academy Glee Club on the steps of the Lincoln Memorial for a globally-televised concert in honor of the Inauguration of President Barack Obama. Ewen, David. Richard Rodgers, Holt, New York 1957 _____. With a Song in His Heart (Richard Rodgers), Holt, Rinehart and Winston, New York 1963 Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II, Random House, New York 1977 Green, Stanley. The Rodgers and Hammerstein Story, John Day, New York 1963; DeCapo Press paperback, 1980 _____. The Rodgers & Hammerstein Fact Book, Hal Leonard, Milwaukee 1980 Hammerstein II, Oscar. Lyrics, with an introduction by the author and a preface by Stephen Sondheim, Hal Leonard, Milwaukee 1985 _____.

A Real Nice Clambake, illustrated by Nadine Westcott, Little, Brown & Co., Boston 1992 Mordden, Ethan.Rodgers & Hammerstein, Harry N. Abrams, Inc., New York 1992 Nolan, Frederick. The Sound of Their Music, Walker, New York 1978 Rodgers, Richard. Musical Stages: An Autobiography, Random House, New York 1975; Jove Paperback, New York 1978 Taylor, Deems. Some Enchanted Evenings, Harper, New York 1953 AGNES DE MILLE: THE DANCES OF CAROUSEL Written By: Agnes DeMille In the last year of her life, legendary choreographer Agnes de Mille revisited her contributions to the original groundbreaking 1945 Broadway production of Rodgers & Hammerstein’s CAROUSEL, resulting in an extraordinary video of insight, commentary and recollection. Hosted by the composer’s daughter, Mary Rodgers, the video includes the dance sequences from “June is Bustin’ Out All Over,” “The Hornpipe,” and the Act II Ballet, recreated by Ms.

de Mille’s longtime associate Gemze de Lappe and performed by members of the Nashville Ballet. Commentary from Ms. de Mille and Ms. de Lappe includes analysis, discussion and demonstration, advice and suggestions for the director, and discussion of sets, costumes and lighting. This instructional video is included with the materials provided by R&H Theatricals for CAROUSEL and is recommended for viewing by your entire production team, cast and crew. The New York Times Written By: Oscar Hammerstein II Toward the end of January, 1944, Theresa Helburn and Lawrence Langner beckoned Dick Rodgers and me into a dark corner of Sardi's, put their fingers to their lips with a hushing gesture, looked from left to right to make sure no one was listening, and whispered, 'How would you like to do a musical play based on Molnar's Liliom?' We looked from right to left and whispered back at them in unison: 'No.' A pause. Then Lawrence asked, 'Why?' We took turns listing successive objections, all having to do with the original scene, Hungary. 'It's a beautiful story,' Terry commented wistfully. We agreed. 'Interesting set of characters,' volunteered Lawrence.

Granted. We had some cannelloni, and ice cream and raisin cake, and parted. The following week we met at my house and Miss Helburn was prepared to meet our locale objection: 'Move it from Hungary to Louisiana. You boys say you want to write about America. Louisiana is America$mdash;but it also has a European flavor. Liliom can be a Creole.' This sounded like a good idea. I promised to give it serious consideration. Well, I brushed up on my Creole atmosphere and ran bang into a disconcerting difficulty$mdash;the dialect. Meanwhile, however, Molnar's tender story and its strange characters had begun to hypnotize us. Dick and I kept telling each other why we weren't going to adapt 'Liliom,' and then we would drift off into a contemplation of all its attractive possibilities. The very difficulties of the job we knew would lead us into unusual devices. We knew we wouldn't wind up with a conventional musical comedy. It was obvious that we would have to mix in values from the dramatic stage and opera. The idea that really opened the way to it all was a suggestion by Dick that at first sounded downright silly.

This was to transplant the play to the New England coast. But it sounded silly only for a few seconds. I began to see an attractive ensemble$mdash;sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty. The poignancy of the story, I was certain, would not suffer from gaiety of background. It would enhance it. As for the two leading characters, Julie with her courage and inner strength and outer simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. So now, for the first time, Dick and I felt that irrational enthusiasm that lures men into the harrowing project of writing a musical play. And away we went. from 'Turns on a Carousel' Percussion Notes CLARINET I and CLARINET II are both B-Flat Clarinets. The BASS CLARINET part in the BASSOON book has been double lined for BASSOON, if a doubler or an additional player is not available.

TROMBONE I, TROMBONE II and TROMBONE III are all Tenor Trombones. The HARP part may be played on a synthesizer with a harp patch if a real harp is not available, but the HARP part is essential cannot be omitted The PERCUSSION book is written to be played by one percussionist, with the exception of “The Carousel Waltz” which can be played by either one, two or three percussionists. The original string breakdown was 5 VIOLINS 1-A, 4 VIOLINS 1-B, 4 VIOLAS, 3 CELLOS and 2 BASSES. Trap Set, Timpani, Triangle, Bells, Glockenspiel, Xylophone, Wood Block, Tambourine Carousel CAROUSEL ROUBEN MAMOULIAN Based on Liliom , a play by FERENC MOLNAR as adapted by BENJAMIN F. GLAZER. First produced at the Majestic Theatre on April 19, 1945, with John Raitt as "Billy" and Jan Clayton as "Julie".

TO the strains of the "Carousel Waltz" the curtain rises upon an amusement park in a New England town in 1873. Fishermen, sailors, mill girls and children are enjoying the sights and sounds of a carnival atmosphere. Two mill girls, Carrie Pipperidge and Julie Jordan, are having a good time until Mrs. Mullin, proprietress of the carousel, insults them. When her handsome, strapping barker, Billy Bigelow, jumps to the defense of the girls, Mrs. Mullin summarily fires him. Billy, being a happy-go-lucky fellow, does not take this dismissal to heart; on the contrary, he invites Julie to have a beer with him. While he is off to get his belongings, Carrie asks her friend Julie whether she finds Billy attractive, but Julie is singularly evasive ("You're a Queer One, Julie Jordan"). Carrie thereupon confides to Julie that she has a fellow of her own, the fisherman Enoch Snow, whom she plans to marry ("When I Marry Mr. Snow"). When Billy returns and is left alone with Julie they begin to talk about love, and the kind of person each would be attracted to.

When Billy inquires if Julie could ever marry a person such as he is, Julie replies that she would--if she loved him ("If I Loved You"). The romance soon takes wing: Julie and Billy get married. Making preparations for the first clam-bake of the year, the fishermen, mill girls, sailors and children are ebullient over the vernal season ("June Is Bustin' Out All Over"). Carrie and Enoch Snow dream about their future together as man and wife ("When the Children Are Asleep"). At this point Billy learns that Julie is pregnant. Though up to now completely irresponsible and incapable of meeting the emotional and domestic demands made upon him by marriage, Billy is suddenly filled with a sense of parental pride and with an overwhelming feeling of tenderness for both his wife and his unborn child ("Soliloquy"). He is determined to get money for them to assure their future. The clam-bake proves a gay affair. ("This Was a Real Nice Clam Bake"), alive with good humour, rowdy spirits and song.

Julie, however, is touched with sadness, knowing as she does that her husband is volatile in his moods and undependable in his behanviour; yet she loves him deeply, and for this reason there is no point in her wondering if he is good or bad ("What's the Use of Wond'rin'"). But that there is much bad in Billy becomes evident when he gets involved in a hold-up. Caught by the police, he commits suicide to elude arrest. Overwhelmed by her grief, Julie tries to find solace in the comforting words of her friend, Nettie ("You'll Never Walk Alone"). Billy arrives in Heaven, where he defiantly tells two of its police that he does not regret his actions on Earth. For this he is doomed to spend fifteen years in Purgatory. At the end of that period the Starkeeper in Heaven permits him to return to Earth for a single day to gain redemption for his soul. Snatching a star from the firmament, which he intends as a gift for his daughter, Billy comes back to Earth. He finds that she is an unhappy child who is incapable of receiving his gift.

As a reflex action in his disappointment, Billy slaps her face, but the slap is given in love, and not in hate, and so the girl feels no pain. Through his understanding and tenderness, Billy is able to lift his daughter out of her misery and to fill her with hope and courage. He now watches the ceremony during which she is graduating from highschool, happy to see that her head is now high, happy too that he has found redemption. As the immediate successor to Oklahoma!--the musical play with which Rodgers and Hammerstein made stage history--Carousel takes the American musical play another impressive step forward. From many points of view, it is better than Oklahoma!, though its performance history is less spectacular. The text has greater depths of feeling, a more encompassing humanity and greater universality--with tragic overtones not often encountered on the musical stage. The fusion of music and the text is even more sensitive here than in Oklahoma!. Song flows into speech and speech into song; melody and text become one. Extended sequences combine prose, verse and speech, or recitative and melody. The orchestra often becomes an eloquent commentator on what has just happened or is about to happen. And Rodgers' artistic horizon is extended.

Here he is much more than the shaper of fresh, original and beautifyl melody; he is a musical dramatist. For the orchestra he now writes with symphonic breadth. The form and style of his windswept melodies and his expansive musical scenes, now unhampered by structural limitations, were dictated by the requirements of the text without concern for convention or tradition. His dramatic expressiveness succeeds time and again to penetrate to the very core of a character or situation. Carousel (musical) - YouTube Carousel (musical) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Nov 7, 2011 Carrie Pipperidge (2006) Carousel is the second stage musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The work premiered in 1945 and was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline.

The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He attempts a robbery to provide for Julie and their unborn child; when it goes wrong, he has a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite among all his musicals. Category Carousel [Original Motion Picture Soundtrack] - Shirley Jones,Gordon MacRae | Songs, Reviews, Credits | AllMusic Carousel [Original Motion Picture Soundtrack] AllMusic Rating google+ AllMusic Review by William Ruhlmann Rodgers and Hammerstein were relatively uninvolved in the movie version of their second musical, Carousel, which was the least successful of three adaptations of their shows released within an eight-month period from October 1955 to June 1956. Oklahoma!, which preceded it, and The King and I, which followed, were both blockbusters, while Carousel failed to make back its considerable production cost.

The dark-edged story had also been less of a success on Broadway, though still a big hit, and the casting of Shirley Jones and Gordon MacRae (the latter a last-minute replacement for Frank Sinatra , who walked out in a contract dispute), the same pair who had just appeared in Oklahoma!, may have dampened audiences' enthusiasm. The soundtrack album, however, was musically more complete containing songs like "You're a Queer One, Julie Jordan" and "Blow High, Blow Low" that had been cut from the film -- and more popular -- reaching the Top Five and selling a million copies -- than the movie. Jones (some of whose singing may have been dubbed by Marni Nixon) and MacRae perform well, as does the rest of the cast, particularly soprano Claramae Turner ("You'll Never Walk Alone"). Some lyrics have been bowdlerized, and a couple of minor songs are missing, but this is still a good version of the score, especially because of the larger orchestra. Subsequent CD reissues have expanded the album's length, and the 2001 edition is padded out with music from two lengthy ballet sections to bring the running time over 70 minutes.

2001 reissue producers Didier C. Deutsch and Charles L. Granata each contribute liner notes, and they overlap; the two essays should have been edited together. And since they make so much of Sinatra's defection, it would have been nice to have dug up the pre-recordings he made for the soundtrack. Track Listing Rodgers & Hammerstein's Carousel The Daily Telegraph The Story Set in a tight-knit fishing community on the New England coastline, Carousel revolves around the ill-fated love affair between charismatic Billy Bigelow, a travelling carnival man, and trusting Julie Jordan, a worker at the local mill. Having married against everyone's advice only weeks after they first met, their budding relationship hits a rocky road as Billy struggles with his temper, the constraints of settling down and financial difficulties. It is only after learning that he is soon to become a father that Billy vows to change his ways and provide for his family. But he falls in with the wrong crowd and dies in the aftermath of a robbery gone horribly wrong. Sent to purgatory for 15 years after his death, Billy is given one day to redeem his soul before he is permitted to enter the Heavenly Gates.

Trying to perform a single good deed, he seeks out his daughter, now a rebellious teenager destined to follow in his troubled footsteps. Billy reaches out to her, but is it too little too late, or will it be enough to change both their lives forever? 'Will have you choking back tears' ★★★★

Question: Julie Jordan and Mr Snow are both characters in which stage and film musical?
Answer: CAROUSEL