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Carousel (Broadway)
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81

Carousel (Broadway) NYC Reviews and Tickets

81%
(1154 Reviews)
Positive
86%
Mixed
11%
Negative
3%
Members say
Great singing, Entertaining, Great staging, Dated, Enchanting

About the Show

Rodgers and Hammerstein’s classic musical returns to Broadway in a revival directed by three-time Tony winner Jack O’Brien and starring Tony winner Jessie Mueller ('Waitress') and Joshua Henry ('Violet').

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Member Reviews (1154)

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80
Dated, Great staging, Great writing, Great singing, Overrated

See it if Great songs by Rogers Hammerstein, excellent dancing very good singing. Casting so so.

Don't see it if If you don't like a classic show or one that is dated.

71
Disappointing, Dated, Great singing, Great staging, Overrated

See it if The second act redeemed the rough first one. Henry’s voice is stellar. The dancing wonderful, but the story is dated and uninteresting.

Don't see it if You don’t like old-timely musicals or this one in particular. The new staging won’t make it better.

Critic Reviews (60)

April 12th, 2018

"The tragic inevitability of 'Carousel' has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. As directed by Jack O’Brien and choreographed by Justin Peck, with thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show’s center has never seemed quite as ill-starred or, at the same time, as sexy...For its first two-thirds, this 'Carousel' tingles with the rapture of life in all its contradictions."
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April 12th, 2018

"Director Jack O’Brien invites us to admire the show as an exemplar of classic American musical theater, lovingly emphasizing its virtues. Prime among them is Rodgers and Hammerstein’s innovative and varied score, repolished by orchestrator Jonathan Tunick and sterlingly sung by the cast...This 'Carousel' pulls its punches; it hits, but it doesn’t hurt. If you love the show enough, you may be inclined to forgive it."
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April 12th, 2018

"O’Brien’s lush, beautifully sung, athletically danced, and utterly conventional revival...Theater isn’t a time capsule, but this 'Carousel' feels like one...Henry is so good that I found myself longing for the production surrounding him to rise to his levels of visceral nuance...If 'Carousel' were a person, he (definitely he) would be an incredible singer, a splendid dancer, and would often look very, very pretty — all while sidestepping the question of exactly what he’s doing right here right now."
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April 23rd, 2018

“O’Brien is especially good at teasing out the ways in which women reveal their sexuality in their closed, largely segregated environment…Unfortunately, Fleming, the famous soprano, is no actress…The choreographer, Justin Peck, does a credible job of keeping her and the rest of the cast moving, but occasionally his work seems too expressive for the stage: it makes the space look smaller...And because Henry himself wants to get it right, he can be too precise in his 'anger.'"
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April 12th, 2018

"What's perhaps most striking about revisiting classics of this caliber in an ideally cast production like this one is how shoddy they make the craftsmanship of most new musicals look...The sumptuous 24-piece orchestra does the score full justice, as do Tunick's vibrant orchestrations...O'Brien has put together a dramatically forceful production that feels earthy and real, almost gritty at times, but is also wrapped in a charming old-fashioned theatricality that's quite whimsical."
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April 12th, 2018

"The story is Just. Plain. Bad...The revival is made for modern audiences now living in the #MeToo era, and this production makes no effort to tell the tale through a fresh lens...It doesn’t help that three-time Tony nominee Mueller and two-time nominee Henry are devoid of chemistry and egregiously miscast...The dancing takes center stage in this production, and it’s one of the best things about it...This revival of 'Carousel' does have its strong points."
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April 12th, 2018

"Henry shows off the exceptionally beautiful voice of a genuine actor-singer, a voice that while warm and mellow, can also soar with joy and tremble in despair. Director Jack O’Brien has given us a conventional production of 'Carousel,' in the sense of a show that takes no risks but preserves and protects all the original values of a great American musical...In addition to the eye-and-ear-popping Henry, Jessie Mueller is enchanting."
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April 12th, 2018

"Jack O’Brien is very smart, but his Broadway revival of 'Carousel' is uneven, enough so that those who know the show may find it a disappointment—though they’ll certainly be staggered by the singing...Mr. O’Brien’s 'Carousel' feels slick, like an old-master painting that has been garishly over-restored...Mr. Henry’s performance contributes to the problem: He fails to dig deeply into the part, charging through 'Soliloquy' as if he had to catch a train."
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April 13th, 2018

"This brand new refurbished production...superbly populated by a huge cast that includes Metropolitan Opera diva Fleming, well directed by veteran O'Brien, and magnificently choreographed by NYC ballet star Peck, is a humdinger...Not only do they no longer write fabulous scores like this one; they don’t even know how...Mueller is lovely and warm as Julie...This is one musical that you risk overlooking at your own peril, a vein of Broadway gold that I hope runs forever."
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April 12th, 2018

"As lovely as anything you’ll see and hear this season. If only Billy Bigelow could keep his fists off women...'Carousel' is, without question, among the most radiantly beautiful musicals ever created, its songs a series of flawless gems...It’d be hard to imagine a better sung 'Carousel' than this one...Director O’Brien draws out the shifting moods – 'Carousel' isn’t all melancholy by any means – and is matched by Justin Peck’s balletic choreography, by turns fluid and rigorous."
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April 19th, 2018

"Thanks to Mueller, Julie is the quiet and fully activated force to be reckoned in this revival. She’s provided with exceptional backup by Lindsay Mendez’s Carrie Pipperidge, an exuberant counterpoint to the empathetic introvert Mueller portrays...Mueller’s emotionally centered performance firmly establishes that Julie owns her choices...That may not wash away our discomfort with some of the more disturbing aspects of a 1945 musical."
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April 12th, 2018

"A production brimming and heaving with the emotional complexity of its own endeavor in the here and now...Peck's work is groundbreaking...within the emotional trajectory of dance storytelling...Despite there being so very much here to love — truly — for the show to work at its peak prowess, you have to see what she first thinks she sees in Billy...Here, that is difficult. Some of the issue comes from a lack of connection between these two gifted lead performers."
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April 12th, 2018

"'Carousel' has such a glorious score that the music always shines bright — even in a revival as wobbly as the one now on Broadway...Director Jack O’Brien hasn’t discovered anything fresh and exciting...Henry and Mueller are thrilling singers...But elsewhere their characterizations are one-note. And the two don’t spark intense chemistry needed to make the doomed romance believable...Looks-wise, this staging cries out for cohesion and a concept to make something more than just run-of-the-mill."
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April 12th, 2018

"Entire scenes and songs have been reconceived or removed...Peck’s new choreography pales in comparison to the brilliant original work of Agnes de Mille...Henry seems disconnected from everyone else, including co-star Jessie Mueller, who is so muted as the enigmatic Julie Jordan that her character gets completely overshadowed and overpowered...As someone who knows 'Carousel' inside and out, sitting through it was a disappointing, bewildering and frustrating experience."
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April 12th, 2018

"It is pure ear candy once the overture swells. Somewhat disappointing is what meets the eye, with design elements that scream low budget...This is a beautifully sung production. All of the principal performers are in sublime voice...Jack O’Brien’s direction is rather inconsistent, with some bizarre choices. But the show’s bones are incredibly strong. And with a superb company of actors, dancers and musicians, this is still a 'Carousel' worth a mighty spin."
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April 12th, 2018

"While O'Brien's production is both a feast for the eyes and ears, you can't help but feel that the effort as a whole amounts to a nervous bunt...Aesthetically, complaints are few. Dramatically, however, they start to pile up as soon as Billy leans seductively against Julie's wooden horse...O'Brien's production — be it his direction or the many cuts he's made to the book and score —never gives Mueller enough oxygen to fan her character's spark into a flame."
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April 13th, 2018

"Judged solely on the quality of its expertly-crafted book, its captivating music and the emotional poetics of its lyrics, 'Carousel' must be regarded as one of the art form's highest achievements...While those, like this critic, who prefer to see theatre pieces performed with the text the authors wrote, will wince at the many changes...what remains still provides enchantment, thrills, great drama and solid laughs in a well-performed and vibrantly choreographed production."
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April 18th, 2018

"Peck has found a style that recalls the work of Agnes de Mille, 'Carousel's' original choreographer, without being slavishly derivative...In addition to any number of exciting dance sequences, the score is burnished to a bright golden hue by one of the most across-the-board vocally gifted companies Broadway has seen in some time...'Carousel' is one of the very few examples of genuine tragedy in the musical theatre canon, and this production honors it in its own unique way."
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April 12th, 2018

"There is one perfect segment...It is truly the highlight of the mélange of lovely moments and off-kilter ones that mark a muddled production that never fully finds its footing under Jack O'Brien's uncertain direction...The entire presentation lacks a cohesive vision that would bring the disparate parts together. Only Rodgers and Hammerstein's eternally magnificent score remains undiminished and inviolate."
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April 12th, 2018

"It is smudged visually. Yet, as briskly staged by veteran director Jack O’Brien, this production for the greater part proves satisfying. It is beautifully sung, exuberantly danced and ardently performed...While the visuals are dubious, this 'Carousel' sounds terrific, with fresh, windswept orchestrations crafted by Jonathan Tunick and an assembly of fine voices...The leading actors provide confident, well-sung performances."
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April 12th, 2018

"Under Jack O’Brien’s expert direction, with new choreography by ballet wunderkind Justin Peck, it fully serves the overwhelming beauty and boldness of material that, 73 years after the show’s premiere, remains as subversive as ever in its compassion and its keen awareness of the contradictions that make us human...No player in this 'Carousel' is more valuable than Peck...who has expanded the dancing in ways that both reinforce and further explore character."
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April 12th, 2018

"Directed by the veteran Jack O’Brien with an assured focus on the texture of the performances...Henry gives a performance of mesmerizing intensity — it’s the musical theater performance of the season to date...The rest of O’Brien’s cast is equally superb...I came away from this 'Carousel' with a richer sense of the contrast between the central characters’ isolation — at times even from each other — and the warmth of the community that surrounds them."
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April 22nd, 2018

“In 1999, ‘Time’ magazine declared it the best musical of the 20th century. And now, ‘Carousel’ is back on Broadway, in a revival directed by Jack O'Brien with an emphasis on where the emphasis should be: on the songs and the singing; for whether you agree with Rodgers and ‘Time’--or not (some might put ‘South Pacific’ or even ‘The King and I’ at the top)--the score for ‘Carousel’ is, in a word, ravishing.”
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April 12th, 2018

"I suspect most audiences will be absolutely thrilled by the superior singing of the ultra-talented cast, led by Joshua Henry and Jessie Mueller, as well as the stunning, highly athletic choreography of Justin Peck. Indeed, the show’s many dance sequences definitely make the show move in unexpected ways – even if the work itself may ultimately fail to move you...As much as Peck’s choreography is full of complexity, O’Brien’s direction is often painfully simple."
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April 16th, 2018

"Must satisfy the yearning for the familiar pleasures, but also recognize the need to approach it with a fresh eye. Director Jack O'Brien has succeeded on both counts...There's plenty that IS fresh and delightful about Mr. O'Brien's production: The top to bottom perfect cast...the stunning choreography...'Carousel' retains enough of its 'masterwork' essence for me to urge you to put it on your 'not to be missed' list."
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April 13th, 2018

"The score is gorgeous, the lyrics moving, and the interweaving of dialog, song, and dance in service of explicating both plot and emotions is masterful...Both Henry and Mueller give us very full-fledged, rounded characters...His acting is specific and nuanced, his voice strong and his physicality magnetic. We believed his feelings and understood his reasoning even if we couldn't condone his actions. Mueller once again displays the magnificent soprano voice and well honed acting skills."
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April 28th, 2018

"A first-rate revival...As dark and as romantically moody as the classic piece demands...Has some troubling issues to deal with locked down inside the text...Beautifully introduces all the characters and situation expertly....O'Brien had to find a way to deal with the lead male character and his unsympathetic actions...It's his uncontrollable curse, this inability to cope and manage his emotions, and in some ways, it is also the curse of this complicated and dark musical."
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April 22nd, 2018

"While Bigelow's race is not prescribed in the text of the musical, casting a black man...Could be seen to lean into troubling stereotypes...This production lacks the intense interpersonal connections between the characters...It instead feels like the director is carefully dancing around the idea of romantically linking an interracial couple...Sadly, this production might send you on a merry-go-round of unwelcome emotions you'll quickly want to get off."
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T
May 11th, 2018

“Theater aficionados will be delighted by the superb vocals...Although the score is still heralded as one of the best among the classic musicals of its era, the book is quite complex and does not withstand the test of time...Henry portrays a formidable Billy...Mueller creates a less convincing, reserved Julie...What becomes most problematic is the absence of chemistry between the couple...The result is a mixed bag, but certainly worth a visit.”
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April 13th, 2018

"Mueller's subtle and authentic performance gets lost in the production's grandeur, but it's a sacrifice worth making...O'Brien's direction breathes life into 'Carousel's' questionable relationships, it's Peck's breathtaking choreography that whisks it to a place of exuberance...Henry's muscular performance digs deep. With a rich baritone that soars when needed, his presence consumes the Imperial Theatre's vast stage. It's no wonder that Julie Jordan, and the audience, falls hard for him."
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C
April 14th, 2018

"This new Broadway revival reveals the haunting beauty of Rodgers and Hammerstein’s lush score and the rich humanity of its characters...A great vehicle for Henry, whose powerhouse performance makes him a front-runner for this year’s best actor in a musical Tony Award. Henry isn’t the only noteworthy actor in this stellar production...Operatic songs coexist with beautifully intricate ballet numbers from choreographer Justin Peck...Dark but uplifting, 'Carousel' has lost none of its power."
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April 15th, 2018

"It often drags as drama (which isn't helped by the long ballets) and frequently seems dated; its leading female character (though well performed) lacks luster and its hero's violence and her weak response are troubling; and its sentimental fantasy about the dead returning now seems not only precious but childishly naïve...But…its score remains one of the best…its singing is glorious, it's pleasant to look at…Henry is sensational, and it still has the power to moisten your eyes."
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April 16th, 2018

"The new 'Carousel' has the most glorious singing on Broadway...Director Jack O’Brien hasn’t solved its dated attitude toward domestic abuse, nor does he take the corn out of the scenes set in Heaven...Happily, this 'Carousel' also features newcomer Justin Peck’s athletic dances, Santo Loquasto’s clever, eye-catching set design, Jonathan Tunick’s lush new orchestrations for a 24-piece orchestra, and some eye-opening performances...An admittedly flawed but still heavenly musical."
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June 7th, 2018

"While choreographer Peck has done a lot of fine work and NYCB soloist Pollack makes a fine Louise, the real revelation for me was NYCB principal Amar Ramasar, whose Jigger is a magnetic presence who commands attention...This production did nothing to make the element of domestic abuse less distasteful, at least for me. Nevertheless, there is much to admire...With an orchestra of 25, the music sounds lush, although I wish the volume had been reduced during the soliloquy."
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April 12th, 2018

"The new version of 'Carousel' is possibly the best sung, best danced revival to hit Broadway in recent memory...In O’Brien’s hands, Mueller and Henry make us see why Billy behaves as he does, and why he can never forgive himself. It’s no longer a question of our having to find ways to forgive him...Peck fires up the stage in ways that the show’s original choreographer, Agnes de Mille, never imagined...Peck also knows how to tell a story."
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April 15th, 2018

"A cast with great voices...Mueller makes an appealing Julie Jordan, Henry is impressive as Billy Bigelow...The show offers an abundance of visual delights in addition to the score and the musical high points. There are enough of those elements to override the work's corny trip to heaven and back. This 'Carousel' emphasizes the dark side of the story, as well as its fun and uplifting sides. The result is strong appeal for those who have never seen 'Carousel', as well as for those who have."
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W
April 17th, 2018

"It would be difficult to beat Rodgers and Hammerstein for fraught musical romance...The moving 'Carousel' offers fantasy that illuminates hardscrabble life rather than creating an escape route...Henry is simply marvelous...He’s so immersed in Billy that every, even silent gesture feels in keeping...O’Brien brings nonmusical theater skills to this affecting drama. Nuance proliferates. The director’s painterly eye creates peopled visuals that are never less than aesthetically pleasing."
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April 13th, 2018

"Big, bold, and beautiful—feeling every bit as soaringly operatic and heart-wrenchingly intimate as it must have upon its debut in 1945. That’s thanks to a quintet of smashing principal performances, stunning choreography, an enchanting set design, and a generous, 24 piece orchestra...From the very first downbeat, Mr. Peck asserts his creative command, clearly articulating every key relationship in the story and setting the tone and sensibility of the show."
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April 12th, 2018

"Does not stint on the darkness of the source material, and it doesn’t resolve or make easy for a modern audience one of its most pronounced storylines...Without any qualification the storyline stands, and Bigelow, so beautifully and richly sung by Henry, remains the show’s antihero...Behind its high-kicking, swaggering choreography, beyond its June busting out all over and that glittering, long-absent fairground ride, 'Carousel' really has its weary head in its hands."
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April 12th, 2018

"Very handsomely staged by director Jack O’Brien and exquisitely sung by its stars Joshua Henry, Jessie Mueller, and opera diva Renée Fleming. But the feeling it inspires can perhaps best be expressed by the grit-teeth emoji...O’Brien’s untimely revival ultimately lacks the conviction to follow through with what at first seems like a bold, even insightful, interpretation of a problematic fave."
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April 13th, 2018

"A lack of theatrical oomph is a general problem with Jack O'Brien's staging, which plays it safe and makes no attempt to update the story. Both Jessie Mueller's high-spirited Julie and Joshua Henry's Bigelow perform their numbers with aplomb, even if Henry struggles to transcend his character's oafishness in the spoken passages. And Justin Peck's choreography is a lively and graceful visual feast. But the overall dramatic approach seems too literal and predictable."
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April 26th, 2018

"A doomed love story unveiled through melodic songs and vigorous dances..Galvanizing performances by Mueller and Henry. A magnetic chemistry of opposites...O'Brien acknowledges the darkness in Billy...Billy's abuse is as timely an issue today...Henry's nuanced performance of machismo and recognition of the bigotry toward African-Americans, blanketing Billy's buried gentleness, is exemplary...Stimulating musical with smashing performances."
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May 28th, 2018

"If you’re at all able, please go see the revival of Rodgers & Hammerstein’s 'Carousel'. Director Jack O’Brien has sculpted a dark, powerful production, which—like the revival of 'My Fair Lady' uptown—earns its strength by reveling in moment-to-moment acting choices and glorious singing and staging. The ever-reliable Jessie Mueller is wonderful."
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April 12th, 2018

"In the age of #MeToo and Time’s Up, it is hard to accept. And casting a black man as the abusive husband presents a whole new layer of complexities...It is possible, of course, to let all this go and simply bask in what is right with this production. Jack O’Brien directs a stunning cast of vocal masters...It is the strength displayed by the women of 'Carousel' that ultimately makes it worthwhile."
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April 12th, 2018

"So where did this handsome, but fundamentally inert production go wrong? One way is that, instead of approaching the story of Julie Jordan and her doomed romance with Billy Bigelow with a fresh, contemporary point-of-view, O'Brien has doubled down on the nostalgia factor...What's most frustrating about this 'Carousel' are the performers, who seem to have been chosen more for their powerful voices than for any ability to persuasively interact and/or generate chemistry."
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April 12th, 2018

"It still glosses over domestic abuse...Yet under O’Brien’s masterful direction, there is beauty, insight, and wisdom to be gleaned from this stunning new revival...There is a bounty of fine moments in this production, but the best one may come from Fleming, whose interpretation of 'You’ll Never Walk Alone' is otherworldly...Mueller's gorgeous vocals and wonderful acting add credibility to this near perfect reboot...The best Broadway musical revival I have ever seen."
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April 12th, 2018

"Other than the brilliant score, there really is very little cause to revive this show unless you have a revelatory vision, which this version totally lacks...Although both Ms. Mueller and Mr. Henry are incredible talents in their own right, their chemistry here is below the charts...The joys of the show are Renee Fleming...and Alexander Gemignani as Enoch Snow, Julie’s best friend Carrie Pipperidge’s fiancé...Jack O’Brien’s listless direction makes the proceedings even more ponderous."
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June 8th, 2018

“A glorious score by Richard Rogers and a superbly sung, groundbreaking male lead performance can’t quite make the current revival the most memorable...The first twenty minutes of Carousel...are about the most perfectly integrated scenes in the American musical canon, and one of the high points of this revival...Casting undoes the magic. Joshua Henry...muscular in both movement and voice, fits the part. Mueller, although exceptionally vocally skilled, brings no physicality to Julie."
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April 12th, 2018

"Seeing it again now, in post-Weinstein 2018, gives this everyday story of co-dependence and abuse an extra charge. It’s all the more discomforting for the fact that it is all wrapped in the most swooningly romantic and utterly lovely score Rodgers and Hammerstein ever wrote. Jack O’Brien’s production balances these competing, problematic tensions with some grit, playing the dramatic scenes with intense feeling."
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April 19th, 2018

"In O'Brien's new production, which manages to make strong, decisive choices and yet appear strangely wishy-washy, Henry rarely gets to display the confident, cock-of-the-walk side of Billy...Mueller, though vocally and facially as dainty as a Victorian cameo, seems trapped in a role that compels her to hold back rather than let loose...This production, so full of great things, has itself not been fully imagined, and so has not made a world for the performers to enter into."
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Z
April 16th, 2018

"An ambitious and intermittently thrilling revival...Each cut, even those that are dramatically defensible, causes problems of its own...Far more effective are O’Brien’s staging choices elsewhere in the show to address additional problematic aspects of the piece...Two of the main reasons to see the current production of 'Carousel,' which are the first-class cast and the thrilling choreography...Henry’s 'Soliloquy' was absolutely on fire."
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April 19th, 2018

"Pleased as I was by just about everything in this production--its fine casting; its songs, sung by supple, able voices; its choreography...I remain disappointed that no matter how well-played she is, the passive, silent Julie just can't hold a candle to the brooding, restlessly self-destructive Billy. Mueller does her best...But ultimately, 'Carousel' is a musical about a restless man who marries, dies, and gets redeemed, rather than it is about a couple negotiating the unfair circumstances."
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M
April 12th, 2018

"The plot needs too much dusting off to be deemed worth reviving...The musical numbers lack luster except for a couple that can still muster up some shine...The singing talents of Henry, Mueller, and Fleming are all highly commendable. But not enough to make the show recommendable. It's the choreography and the fabulous ensemble dancing that give the show its stellar (and much needed) lift...Except for the stunning dancing I couldn't wait to get off this antiquated ride."
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April 13th, 2018

"The way this team portrays women and treats marital violence in 'Carousel' raises questions in a contemporary audience...This production plays like it’s 1945...The sound of the music was rich and sweet...If you have never seen 'Carousel,' this production is pleasant and worth seeing. Several of the performances are as good as they possibly could be. But the production lacks imagination and never really thrills an audience the way some past revivals have."
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April 13th, 2018

"A sublime hit...Henry as carnival barker Billy Bigelow, glistening on stage, delivering a vocal and dramatic performance...This is his breakthrough, and it’s just jaw dropping good. You want to him hear him sing anything, all day long...You’re almost taken aback hearing gorgeous, trained voices handing sublimely written music. For that – for the mesmerizing unfolding carousel canopy at the beginning of Act 1 – this show is a memorable winner."
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F
April 13th, 2018

“An ill-timed and remarkably tactless misfire...O’Brien and Rudin have abused a large budget to create a garish, gaudy production above a hollow and disintegrating show. They’ve performed a masterful act of seduction…But no plumage, nor any attempt at elaborate rhapsody, could mask the rot at the core of this sentimental revival…Mueller’s turn is drowned by a stale character granted no room for innovation…Renée Fleming as Nettie Fowler, however, may be a singular grace in this revival."
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April 13th, 2018

"Rodgers and Hammerstein’s groundbreaking 1945 musical still resonates today thanks to its timeless theme of redemption and its rapturously beautiful score...Treasured hymn 'You’ll Never Walk Alone' has never been matched for the poignancy of its uplifting message of hope...The merits of this new production include a sterling cast, generously sized orchestra and thrilling choreography...As close a connection as we have to the dawn of the golden age of Broadway."
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April 13th, 2018

"A complex, thought-provoking masterpiece...All these weeks later, this beautiful revival has been on my mind frequently...O'Brien's staging was clear: balance the realism in the story with the fantastical Heaven framing device and extended ballets...It is touches like these, along with well-paced stretches of dialogue...that keep things grounded...One of the best things this show does is provoke emotional responses. I got that and then some."
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N
April 17th, 2018

"One of the more problematic works of Rodgers and Hammerstein, but it also contains some of their best music...In the delightful revival, that music is given the star treatment...A stellar cast...The topic of spousal abuse could not be more relevant, and it is front and center in 'Carousel'...Mueller is lovely as Julie...Henry shows Billy to be tender, angry, funny, sad and determined...'Carousel' offers a highlight reel of the best of the Golden Age of Broadway."
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O
April 18th, 2018

"Taking on the character Nettie, Fleming scores an unquestionable success...Fleming may be closing in on 60, but here she sounded as fresh and as emotionally riveting as ever...Among the other actors, the night belonged to Henry, whose Billy immersed the audience in a tragic hero's journey...He also sang like a god...The production by O'Brien moved with great agility and grace throughout the night, transitioning from one scene to the next seamlessly."
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