Carousel Guide

Context

Rodgers and Hammerstein’s first collaboration on Oklahoma in 1943 was a massive success due to its social commentary and full integration of music, character building, and dance as plot-furthering devices. Oklahoma launched musical theater into a new stylistic era, and established high expectations for Rodgers and Hammerstein’s following projects. Carousel was Rodgers and Hammerstein’s second musical theater collaboration together. The musical opened on Broadway at the Majestic Theatre on April 19, 1945, and received rave reviews. The musical is mostly renowned for its rich score, which features such hits as “If I Loved You” and “You’ll Never Walk Alone.” Carousel is still widely performed in professional and educational settings today.

Carousel is adapted from Ferenc Molnár’s 1909 Hungarian drama, Liliom. The play Liliom premiered in Budapest in 1909, but was not commercially successful until its restaging in Budapest after World War 1. Rodgers and Hammerstein’s producers at the Theatre Guild, Theresa Helburn and Lawrence Langner, initially proposed the idea of creating a musical adaptation of Molnár’s famed work. However, the songwriting duo initially dismissed the suggestion. Rodgers and Hammerstein weren’t familiar with the Budapest setting and didn’t believe the depressing ending that defines Liliom would translate well to the musical theater genre. In addition, Rodgers and Hammerstein didn’t believe they would be able to easily secure the rights for Molnár had infamously declined the rights both to Puccini, who desired to create an opera adaptation, and Kurt Weill, who desired to create a musical adaptation. Rodgers and Hammerstein briefly considered setting a potential adaptation in Louisiana, as per their producers’ suggestion, but ultimately decided to set their narrative in New England. Rodgers came up with the idea because he owned a home in Connecticut, and the team saw theatrical potential in the sailors, whalers, clambakes, and seashores that define New England iconography. 

After Helburn and Langner brought Molnár to see Oklahoma on Broadway in 1943, Molnár quickly agreed to give Rodgers and Hammerstein the rights to his work. Molnár was impressed by the way Rodgers and Hammerstein adapted Green Grow the Lilacs (the play Oklahoma is based on) and trusted them with his work. 

Rehearsals for the Broadway production began in January of 1945. The production performed its first out-of-town tryouts in New Haven in March of the same year. During this run, the first act was well received while the second act was not. This was mostly because the production was too long, and is said to have finished at around 1:30am. Carousel received a warmer reception during its second round of tryouts in Boston, largely due to the major cuts that had been made to the script and score. 

Carousel was an immediate Broadway hit when it opened on Broadway that April. It ran for 890 performances, and closed on May 24, 1947. A touring production ran for two years after the Broadway production closed. Additionally, the production was transplanted to the West End in 1950 where it ran in London for 566 successful performances.

As was expected, Carousel didn’t become as commercially successful or famous as Oklahoma. However, it was well received and revived for many years. New York City Center, Lincoln Center, and the New York Philharmonic have all presented professional restagings of the work, and a film was created in 1956. Carousel was first formally revived on Broadway in 1994 at the Vivian Beaumont Theater and the production won many awards, including the Tony for Best Revival of a Musical. The musical was revived a second time in 2018 at the Imperial Theatre and notably featured Renee Fleming. 

In 1999, Time Magazine named Carousel the Best Musical of the 20th Century. The work lives up to this title in many ways, especially through its music, but some parts of the musical can be difficult to reconcile in the 21st century. The work can be interpreted to condone domestic violence and male dominance. This criticism is best documented in theater critic Ben Brantley’s review of the 2018 revival, in which Brantley writes about the “mother-daughter dialogue that falls so abrasively on contemporary ears,” arguing that the director didn’t do enough to pointedly criticize Julie’s justification of loving an abusive man. This aspect can be a clear point of contention for modern audiences, but also a welcome challenge to intentionally stage the production for audiences with contemporary sensibilities.   

Plot Synopsis

PRELUDE

Carousel begins with a pantomime sequence performed during “The Carousel Waltz.” The sequence is set at an amusement park on the New England Coast and prominently features a merry-go-round, specifically named Mullin’s Carousel. At the beginning of the sequence, townspeople are seen enjoying the park’s attractions. A favorite attraction for many female characters is Billy Bigalow, the carousel’s barker. While working, Billy pays particular notice to Julie Jordan and allows her to skip the line. Mrs. Mullin, the carousel’s proprietress, appears to be jealous of Billy’s nonchalant interest in Julie. At the end of the sequence, Billy and Julie are seen riding the carousel together.  

ACT ONE

Mrs. Mullin chases after Julie and Carrie Pipperidge, Julie’s best friend, outside the amusement park. She tells Julie to never return to the carousel, and threatens that she’d be thrown out if she ever tried. Mrs. Mullin argues that she could lose her carousel license if police knew Julie had let Billy ‘fool’ around with her on the ride, but in actuality, Mrs. Mullin is just jealous of the attention Julie received from Billy. Billy arrives, and tells Mrs. Mullin he would let Julie in if she tried to return to the carousel. Mrs. Mullin fires Billy as a result. After the confrontation, Billy goes back to the carousel to retrieve his belongings, but promises Julie and Carrie he’d return and have a drink with them.  

While Billy is gone, Carrie comments on Julie’s interest in Billy (“You’re a Queer One, Julie Jordan”) and opens up to Julie about her man, “Mister Snow.” During her song, Carrie sings lovingly of his interest in fishing, their recent engagement, and their future home together. When Billy returns, Carrie informs Billy that she and Julie will lose their jobs at the Cotton Mill if they stay out past curfew. After Julie chooses to stay, Carrie reluctantly leaves them alone. Billy and Julie talk briefly on a bench. A policeman and Mr. Bascombe, Julie’s boss at the Cotton Mill, arrive. The policeman says they have a report on Billy that documents his history of flirting with women, promising to marry them, and then taking their money. Mr. Bascombe offers to forgive Julie’s behavior if she leaves with him, but she chooses to stay with Billy instead. The now-jobless pair sit together on the bench, and tease each other. Julie and Billy both hypothesize what it would be like if they actually loved the other (“If I Loved You”). Though they sing in hypotheticals, it is clear they are falling in love, and Julie and Billy kiss at the end of the sequence.

The setting changes to Nettie Fowler’s Spa on the oceanfront in June. It has been two months since Billy and Julie were married. Men, mostly hungry sailors, heckle the women who are cooking inside preparing for the clambake. Nettie, Julie’s matronly cousin, explains that everyone’s behavior is always more rambunctious at the beginning of summer (“June Is Bustin’ Out All Over”). The community then joins her, joyfully ushering in the new season.

After the song, Julie privately tells Carrie that Billy had been out all night with his new sailor friend, Jigger Craigin. She also tells Carrie that Billy recently hit her due to his frustration over his own unemployment. Carrie asks Julie why she doesn’t leave Billy, but Julie simply says she doesn’t want to. The subject changes, and Carrie informs both Julie and nearby women that she and Enoch Snow will be married soon. The women express their excitement for the event (“Mister Snow- Reprise”). 

Enoch then enters and proclaims his love for Carrie. Carrie introduces Enoch to Julie. Overwhelmed by Enoch’s kindness to her, Julie cries and accidentally runs into Billy and Jigger. Billy and Julie argue about his unemployment and his intention to skip the clambake before leaving separately. Now alone, Enoch shares his intention to have a large family with Carrie, and they both excitedly envision their future together (“When the Children Are Asleep”).

The local men share their fondness of sailing and whaling (“Blow High Blow Low”), afterwhich Jigger proposes a potential heist plan to Billy. Jigger tells Billy the owner of the ship on which he works will transport $4,000 by himself that night, and he wants Billy’s help stealing the money. Billy refuses to comply, especially when Jigger says he plans on stabbing the ship owner. Mrs. Mullin joins and says she heard Billy beats Julie. She says it’s clear he isn’t enjoying his marriage anymore and tries to convince him to leave Julie and work at the carousel again. Billy seriously considers this option. Julie enters, interrupting their conversation. She speaks to Billy alone, and tells him she is pregnant. As Billy follows Julie into the house, Mrs. Mullin warns Jigger to stay away from Billy. Mrs. Mullin knows Jigger’s dangerous history and doesn’t want Billy to get caught up in his shenanigans. 

Now alone, Billy imagines being a father to a son, but his perspective quickly shifts once he realizes that he could have a daughter (“Soliloquy”). As a result of this, Billy decides to join forces with Jigger in order to support his future family through a life of crime. Billy agrees to follow Jiggers plan and go to the clambake that night so they’ll have an alibi. Jigger also instructs Billy to bring his kitchen knife.  

The end of the act ends with another brief pantomime sequence. Julie is seen excitedly telling Carrie that Billy has agreed to attend the clambake. Billy places a shawl on Julie’s shoulders, and then quickly shows Jigger the knife in his vest. Julie sees this, and then walks off with Billy as Jigger follows them. 

ACT TWO

People are seen relaxing on an island after having enjoyed the clambake (“This Was a Real Nice Clambake”). As Nettie and Enoch set up the post-clambake treasure hunt, Billy and Jigger plan to leave the island during the activity. Jigger then aggressively flirts with Carrie, and tries to kiss her without her consent. He then pretends to teach her self-defense tactics as a ploy to get physically closer to her. When Enoch sees this, he calls off the marriage and sings of the beautiful life he and Carrie could have had together (“Geraniums in the Winder”). The women then lament their struggles with the men and their life. Julie and her other female friends attempt to make Carrie feel better by stressing the singular importance of loving her man (“What’s the Use of Wond’rin”). As Billy supposedly embarks on the treasure hunt with Jigger, Julie tries to take his knife away but fails. 

Billy and Jigger gamble as they wait on the mainland for the shipowner’s arrival. When Billy runs out of money, they play on credit from the money they plan to steal. When their supposed target, Bascombe, walks past, Billy distracts while Jigger attempts to stab him. But Bascombe disarms Jigger and points his gun at Billy. Jigger runs away, but Bascombe tells Billy he’ll go to prison for over a decade for his attempted crime, and Billy stabs himself, saying, “They won’t put me in no prison.” Bascombe later tells of the silly fools who didn’t notice he was “comin’ from the ship, not to it,” and that the money Jigger and Billy desired was already locked in the Captain’s desk.

People become aware of the tragedy as they return to the mainland from the clambake. Julie runs to Billy when she returns. Billy asks Julie to tell their child about his plan to take his family to San Francisco. Soon after, Billy says Julie’s name and then dies in her arms. Carrie tells Julie she’s better off without Billy, and Julie agrees. When everyone leaves, Julie tells Billy that she loves him, something she never said to him while he was alive. Nettie returns and consoles Julie, telling her to continue moving forward despite the loss and trauma she has experienced (“You’ll Never Walk Alone”). 

Now in the afterlife, Billy talks to Heavenly Friend, who is tasked with bringing Billy to the eternal judge. When Billy asks if he’ll be judged by the Lord God, Heavenly Friend implies that Billy isn’t important enough to be judged by the Lord God. Billy then declares he will stand up for his own rights and make sure he is judged by the Lord God (“The Highest Judge of All”).

Billy is brought to Starkeeper, who distinguishes between the ‘front gates’ and the ‘back gates,’ saying Billy will go where he is sent. They review his life on earth together, and Starkeeper says Billy hasn’t done enough good to get into heaven. Billy and the Starkeeper then watch his troubled daughter, Louise, who is now 15 years old. Louise is a solitary child, lightly bullied by other children and outcast after passionately flirting with a carnival boy (“Dream Ballet”). Starkeeper then gives Billy the chance to redeem himself by going back to earth for one day and doing something good. 

On Earth, Louise tells Enoch Jr. she plans on running away to join an acting troupe. When he offers to marry her instead, she forcefully declines. Now alone, Billy chooses to make himself seen and tells Louise he knew her father. He tries to give her a star from above, but she doesn’t trust him. As she pulls away from him he impulsively slaps her hand. Heavenly Friend tells Billy he failed, stating, “All you ever do to get out of a difficulty [is] hit someone you love! Failure!” But when Louise tells her mom what happened, Julie sees Billy for a brief moment, then says, “It is  possible, dear, for someone to hit you, hit you hard, and not hurt at all.” Julie sees the star he left and takes it with her (“If I Love You Reprise”). 

In one last effort to redeem himself, Billy attends Louise’s graduation. Louise doesn’t get much applause when her name is called. The graduation speaker, a Doctor, instructs the graduates to find success for themselves by neither leaning on the success of their parents nor feeling held back by their failures. Billy tells Louise to believe him, and her eyes shine as she joins the graduates in singing “You’ll Never Walk Alone” (Reprise). Both Heavenly Friend and the Doctor smile at Billy, as he is assumedly ushered away to heaven.

Audition Song Guidance Excerpts

If I Loved You

Context: After Julie Jordan allows Billy Bigelow to put his arm around her on a carousel ride at the beginning of the musical, she gets kicked out of the park and is told to never return. Billy then invites Julie to have a drink and they leave. Although Julie is told by both Carrie and her boss that she will lose her job if she stays out too late, she chooses to spend more time talking to Billy. The two then proceed to perform the “If I Loved You” scene, in which both individually profess what it would be like to love the other. The characters kiss at the end of the scene.

Cut Suggestions: 16-bar cut suggestion: Begin singing at measure 17 starting with “Longin’ to tell you” and sing through the end of Julie’s section “How I loved you. If I Loved you.” 32-bar cut suggestion: The whole piece is a 32-bar selection!

Soliloquy

Vocal Notes: Soliloquy is an iconic storytelling piece that relies on its length to make a full impact. Because of this, the piece is not the best choice for an audition. However it can be a stunning showstopper in a showcase or cabaret setting.

Context: At the end of the second act, Billy considers leaving his wife Julie and returning to his work at the carousel. He reasons that a married barker would not be as popular as a single barker. However, when Julie tells Billy that she is pregnant, all of Billy’s disloyal thoughts disappear. Once alone, he imagines being a father to a son, but his perspective quickly shifts once he realizes that he could have a daughter. As a result of this, Billy decides to join forces with Jigger, his whaler friend, in order to support his family through a life of crime.

Cut Suggestions: 16-bar cut suggestion: Begin at the pickup to measure 244, “I’ve got to get ready before she comes” and sing through the end of the piece, “Or die!” 32-bar cut suggestion: Begin at measure 225, “Dozens of boys pursue her” and sing through the end of the piece, “Or die!”

Geraniums in the Winder

Vocal Notes: This could be an especially interesting audition choice as it is one of the least performed pieces from Carousel yet equally displays vocal ability within the Rodgers and Hammerstein style.

Context: At the top of the second act, Enoch catches Billy’s whaler friend, Jigger, attempting to seduce Carrie. He becomes instantly distraught, and claims that his engagement with Carrie is over. In the song, Enoch outlines the beautiful life they could have had together- a life he believes will no longer be.

Cut Suggestions: 16-bar cut suggestion: Begin at the pickup to measure 21 “And comin’ home at twilight” and sing through the end of Enoch’s section “never, never to be” 32-bar cut suggestion: The whole piece is a 32-bar selection!

What’s the use of wonderin

Vocal Notes: “What’s the use of Wond’rin” is one of the most controversial songs in Carousel, as it appears to condone domestic violence. A performer should approach this piece carefully and focus on strengthening Julie’s character.

Context: Carrie, Julie’s best friend, is overwhelmed after Enoch ends their engagement. Julie and her other female friends attempt to make Carrie feel better by stressing the singular importance of loving her man. Though Julie is singing to Carrie, she mostly reflects on her own relationship with Billy during the song.

Cut Suggestions:

16-bar cut suggestion: Begin at measure 21 “Somethin’ made him the way that he is” and sing through the end of Julie’s section “And all the rest is talk.” 32-bar cut suggestion: The whole piece can function as a 32-bar cut!

You’ll Never Walk Alone

Vocal Notes: This is one of Rodgers and Hammerstein’s most well-known pieces, and is often performed out of the context of the show.

Context: Billy, Julie’s criminalized husband, loses a gamble to his partner Jigger using their anticipated robbery rewards. Billy feels even more helpless after their failed robbery and stabs himself with a knife. Julie arrives and Billy dies in her arms. Immediately after Billy’s death, Nettie consoles Julie and tells her to continue moving forward despite the loss and trauma she has experienced.

Cut Suggestions: 16-bar cut suggestion: Begin at the pickup to measure 27 “Walk on through the wind” and sing through the end of the piece “You’ll never walk alone!” 32-bar cut suggestion: The whole piece can function as a 32-bar cut!