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Review: Carrie The Musical - Phoenix Ensemble

 


Written by Gabriel Besa

We’re back in high school but this time we’re attending Chamberlain High. Here, we meet any high school trope you can think of while also singing and dancing about the high school experience. Carrie: the Musical is based off the Stephen King novel that Phoenix Ensemble then brought to their stage. Phoenix Ensemble is full of creatives that have previously done shows like Footloose, Sweeney Todd, and The Spongebob Musical. 

Carrie White is a misfit. At school, she's an outcast who's bullied by the popular crowd, and virtually invisible to everyone else. At home, she's at the mercy of her loving but cruelly over-protective mother. But Carrie's just discovered she's got a special power, and if pushed too far, she's not afraid to use it. Set in the present in the small New England town of Chamberlain, Maine, Carrie: The Musical features a book by Lawrence D. Cohen (screenwriter of the classic film), music by Academy Award winner Michael Gore (Fame, Terms of Endearment), and lyrics by Academy Award winner Dean Pitchford (Fame, Footloose).

Phoenix Ensemble’s take on Carrie: the Musical, includes the directorial debut of Joshua Brandon, the musical directing of Hayley Marsh, and the choreography of Victoria Lancaster. It was a job well done for the horror musical, not for one-second holding back on stage use, musical talent, or props and lighting. The vocals of the night were quite mystic with the cast filled with singers who are capable of hitting high notes. Though there was an absence of lower notes as dictated by the score, it did mean a bigger focus on perfecting those high notes. All vocals were supported by a live band that the audience could see in the corner which gave us a refreshing taste of theatre. Most directions would try and hide their live band but as a former band kid, this reviewer appreciates seeing the band and having them as present as the other performers. This live band did not hold many players but it still didn’t feel a lack of any smaller or lackluster due to its size, it sure packed a punch!. The choreography of the night ranged from the simple to the industry level, making sure no talents were hidden on the night. Carrie isn’t necessarily the production to need heavy choreography, but it also added an element for the audience to keep them on their toes. The choreography was similar to the blocking of the production as the movement felt strong and solid throughout the show while also being fluid.

The common thread that can be found throughout the entire show is Phoenix Ensemble’s ability to apply attention to detail. Before the lights were even dimmed for the show’s start, the stage, the walls, as well as the exit door were all decorated with bloody red handprints, hinting at the upcoming plot twist from Carrie we all know and love. Phoenix Ensemble owes a lot of thanks to lighting designer, Maddy Bosanko and lighting operator, Riley Baker for the incredible work done with the lighting. There was not a beat of the night that was not perfectly backed up with the most accurate lighting for the performance. Whether it was a change of scene or even a change of mood in a particular scene, the beautifully done lighting was a great feature in the show itself. The use of the stage was used to Phoenix Ensemble’s benefit as they had multiple characters go on and off the stage in different directions. The blocking of it all was splendidly done with characters spread across the stage, ensuring no one’s eyes ever got bored while watching. 

Even in the acting, attention to detail was never missed. In Chelsea Sales and Carly Quinn’s respective solos, the body language, the moving eyes, and the facial expressions were something to applaud over in itself. With the audience so intimately close to you, there’s no choice but to have performers who don’t miss a detail. it is very enjoyable being so close to the actors as they sang their solos, in their perfect portrayal as their characters. Sales and Quinn do not have easy characters to play or easy songs to sing but they did it well and they did it while making it seem effortless for them. 

The audience truly was on the edge of their seats as we waited for each character to step forward and have their turn to sing their solos. Kyle Armstrong singing “Dreamer in Disguise” perfectly encapsulated the teenage angst that his character, Tommy was going through. Storm Fraser’s incredible character work as Chris did wonders for the production which was a heavy task considering Chris’ personality set the tone for the other Chamberlain High students. Fraser did all this while constantly hitting high notes in the show and showcasing her dance background. As for Sophie Mason, to be the opening and closing line is a whole new level of weight on your shoulders. Mason had the responsibility of being the moral compass character and had a control to her voice that cannot be misplaced. 

The solos were one thing, but the harmonies, as well, were a dream come true on stage. It didn’t matter if it was a duet, a choir of four singers or the whole ensemble, the collection of voices meshed perfectly together no matter the number. The show was filled with a perfect example of comedic timing and shined light in characterisation and line delivery. 

Carrie: The Musical is now open at the Phoenix Ensemble's Tin Shed and is playing until May 25th 2024!

BOOK NOW!

Photos By B'rit Creative

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