With Wednesday’s stellar staging of Rodgers and Hammerstein’s “Carousel,” the New York Philharmonic joyously put the “music” back into the Broadway musical.
From the first yearning chords of the “Carousel Waltz” to the towering final chorus of “You’ll Never Walk Alone,” Richard Rodgers’ melodies shimmered in the hands of the 71-member Philharmonic — an extravagant alternative to the scrawny dozen or so players a Broadway theater might muster.
A celebrity-studded audience, including the Clintons — Bill, Hill and Chelsea — cheered conductor Rob Fisher and his cast, a dream team of theater, opera and dance stars.
Heading the company were Broadway’s Kelli O’Hara as dreamy mill worker Julie Jordan, who falls for the hot-tempered carnival barker Billy Bigelow, played by Met baritone Nathan Gunn.
O’Hara’s light, true soprano radiated warmth in “If I Loved You,” then soared to the evening’s absolute high point, exalting the ballad “What’s the Use of Wondrin’?” into a clear-eyed hymn to unconditional love. And if Gunn seemed too amiable for the scoundrel Billy, he deftly punched out the high climax of his “Soliloquy” and spun an easy legato for his heartbroken reprise of “If I Loved You.”
As Julie’s kindly cousin Nettie Fowler, Met stalwart Stephanie Blythe proved a natural Broadway baby, unleashing her tsunami of a mezzo in “June Is Bustin’ Out All Over.” Meanwhile, Jessie Mueller (“Drood”) nearly walked off with the show as spunky Carrie Pipperidge. Her “legit” soprano sounded fresh and honest, never shrill.
Luxury casting continued with Shuler Hensley, quietly creepy as the crook Jigger, and Jason Danieley, who flaunted a pingy high tenor as Carrie’s beau, Mr. Snow.
Though Kate Burton sliced the ham too thickly as carnival boss Mrs. Mullin, John Cullum, legendary star of “Shenandoah” and much more, crackled with dry wit as Billy’s supernatural friend, the Starkeeper.
Even the big second act pas de deux for Billy’s daughter Louise and her Carnival Boy turned up, danced lyrically by New York City Ballet principals Tiler Peck and Robert Fairchild.
Director John Rando staged the drama coherently and honestly, keeping intimate scenes front-and-center while the 32-member chorus scampered around the orchestra.
Is this the definitive “Carousel?” That’s for theater buffs to decide. But it’s hard to imagine a more masterful performance of this jewel of a score.