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In 1999Timemagazine proclaimed Rodgers and HammersteinsCarouselthe best musical of the 20th century.
The latter, unfortunately, isnt to be found in the current production.
Theater isnt a time capsule, but thisCarouselfeels like one.
The pair have only just met when both lose their jobs.
Its this pregnancy that leads to the storys tragic turn and ultimately to the unlucky Billys posthumous redemption.
But before all that, we get Soliloquy,Carousels thunderous first-act finale and Billys psychologicalpiece de resistance.
Sweeneys damage is more obvious, more ghoulish, but Billys is more insidious.
It certainly does all this in the body, and the colossal voice, of Joshua Henry.
Santo Loquastos lavish scenic design and Ann Roths technicolor costumes produce a similar effect to that of Flemings Nettie.
Theyre grand and lush at moments exquisite and yet, somehow, not quite satisfying.
Roths turn-of-the-century frocks and frills are as neat and vibrant as a basket of fresh fruits.
With OBriens production,Carouselhas been revisited, but it hasnt truly been revived.
For the merry-go-round to be worth another ride, someone has got to bring some new ideas along.
Carouselis at the Imperial Theatre.
