Girls, I Am Telling You, If I Had Seen This In The Theater, I Would Have Had To Have Been Peeled Off From The Ceiling By The End!!!!!!!!!!!!

                                   When something meets my ineluctably high standards of perfection, darlings---and it is rare--not only is it cause for rejoicing, but I am always what I call "transported to theatrical realms."  This means, that, while watching said vehicle, I feel as if I am on a cloud, being lifted higher and higher to the heavens, but am only stopped by the theater space's ceiling, from which I have to be peeled down, as mentioned, at the end.

                                     Well, yesterday afternoon, I was not in a theater, but certainly felt like I was.  Monsieur and I, together with our friend, Judy, whom we invited over, finally got to watch the PBS broadcast of the New York Philharmonic's presentation of "Rodgers And Hammerstein's "Carousel."

                                        Everyone, and Theater Queens, especially, take note--imagine a dream cast performing to perfection one of the most perfect scores ever written.  Which only serves to accentuate further how perfect it is.   That is what was obtained here.

                                          Let's start, with those sinister, opening notes the orchestra plays.    Right away, the music reveals this will be something different and darker, than is usually seen on the musical stage.  Even as it swells and builds to the waltz theme, there is an underlying sadness to the music, that sets the tone which will permeate for the rest of the show.  "Carousel" is by no means bitter.  But it is bittersweet.

                                          That whole span--which must run close to half an hour--from those aforementioned notes up to the conclusion of the entire "If I Loved You Sequence" is as close to Heaven on Earth musical theater lovers and Theater Queens will get.  I have stated it repeatedly--with "Carousel," there are several times when I just "lose it," and the first time comes here, especially when those poignant lyrics, "Off you would go, in the mist of day," are sung.  What brilliant lyric writing to end with "day," instead of "night!"

                                            This sequence, and others, is performed by a Heaven sent Kelli O'Hara and Nathan Gunn, who, combined, make this one of the best Julie-Billy pairings I have ever heard sing this score.  Kelli does some of her best work here; the one nice thing about seeing this on TV is the close-ups where you can see the emotions on the faces of the actor/singers, who are not just performing "Carousel," they are inhabiting it.

                                              The same must be said of Jessie Mueller and Jason Danieley.  The latter was so good, I could easily see him slipping into the role of Billy, and his voice is as equally glorious Gunn's. As for Our Jessie, darlings, well, she consolidates her rising star status, with her vocal perfection and her ease with physical comedy.  It was interesting to see this broadcast hosted by Audra McDonald, who played Carrie in the 1994 Lincoln Center Theater production, (which I saw three times!!!!!!!) who assumed the stardom she now occupies via this role.  It was like the torch was being passed from one Carrie to another--Audra to Jessie!!!!!!!!!!  Her rendition of "Mister Snow" is as touching and radiant as only Jessie could be--she nails this, and everything she does in the show, to a tee. And when she and Jason Danieley harmonize, at the close of "When The Children Are Asleep," I lost it again, over another Heaven sent moment, made moreso by the vocal perfection of this couple as well.

                                                    How many times can one take notice of Jigger Caigin?????  Besides the couples, he pales by comparison. I do recall how sleazily Fisher Stevens played him in the LCT production; here Shuler  Hensley lets us see a more human, musical side of Jigger.  So overwhelmed is one by this show's more powerful moments, one forgets Jigger sings in the show, pretty much the lead in "Blow High, Blow Low."  Jigger is still scum, but Hensley's way with the song keeps his Jigger from becoming what is sometimes "Carousel's" most thankless role.  The same must be said of Kate Burton, who wonderfully humanizes Mrs.Mullin in a way not often seen.  Kate was so good there were times I thought even she would burst into song.  But Mrs. Mullin is not written that way.

                                                        But Nettie Fowler is, and Stephanie Blythe brings exuberance when it is needed to "June Is Bustin' Out All Over," whose joyousness from the cast is so palpable, and yet bittersweet for the audience, most of whom, know, in spite of the present joy, what lies ahead.

                                                           And when the show reaches its darkest, and Miss Blythe steps forward to sing the hymn-like "You'll Never Walk Alone," I am sure there were many who lost it at that point. Blythe's voice has the power and depth needed to put this song across, without making it preachy or treacly, and she does.  This is the third spot where I lose it with "Carousel"--in this song, when she gets to the phrase, "At the end of the storm/Is a golden sky/And the sweet, silver song of the lark."  Art and emotion blend here, and I know I am not the only out there, darlings, who reacts to this spot.

                                                              Then there is what is referred to as the "Carousel Ballet."  It is danced by Tiler Peck, as Louise Bigelow and Robert Fairchild as the Carnival Boy.  What is seen, along with Billy, is Louise's inherited rebelliousness, just like  her father, in her, an angst ridden adolescent, who dances out her frustrations, especially when ridiculed by the more conventional Snow Children.  The scope of this piece is quite extraordinary, as it also depicts a representation of Louise's emergent sexuality.  It is a miniature playlet in itself, and what I consider one of the three greatest dance pieces in American Musical Theater--the other two being "The Music And The Mirror" from "A Chorus Line," and the "Somewhere Ballet" from "West Side Story."  It is a poetic piece, and Peck and Fairchild bring that poetry, and sexuality, to the fore!!!!!!!!!

                                                                 By the time of the graduation, I could not hold it back anymore, and lost it completely, especially when Nathan Gunn says to Kelli O'Hara, "I loved you, Julie!" Know that I loved you! " The exquisite look on Kelli's face tells us that Julie, indeed, knew it all along.  And we did, too, darlings!!!!!!!!!!!!!!!!!!!!!!!!!

                                                                 "Carousel" wiped me out, darlings!!!!!!!!! It was, and will always remain,  Rodgers and Hammerstein's finest work, and their most psychologically probing one.  This broadcast, which you owe it to yourselves to see, probed  all emotional, dramatic and musical depths.

                                                                     In the words of R and H, it was "fittin' for an angels' choir!!!!!!!!!!!!!"