​While the weather was not all one would wish for, a light shower or two was not going to get in the way of the Open Air Theatre's production of Carousel.

Nor would it deter those of us lucky enough to be in the audience for this innovative and thought provoking revival of Rodgers and Hammerstein 1945 follow up to Oklahoma.

We Open Air regulars willingly take the rough with the smooth in confident assumption it will be worth it.

​And this is certainly the case with this Carousel.

Richard Rodgers always claimed the musical was the favourite of the 11he and Oscar Hammerstein penned together during 'golden era' of Hollywood musicals in the 1940s and 50s.

Unlike many of those, however, Carousel is a gritty work with a serious premise.

It is easy to see why there was interest in reimagining Ferenc Molnar's 1909 play Lilom as a ballet or opera before Rogers and Hammerstein secured the rights.

And there is a balletic feel to this productions dramatic choreography.

An undercurrent of the sexual harassment and abuse of women also flows through Carousel and this gives it a read edginess.

While Carousel is set in a coastal New England town, the introduction of a
'colliery brass band' during the overture, and the emphasis on Geordie and Welsh accents throughout brings it much closer to home.

It makes Carousel all the more relevant for this.

The town’s carousel is the local hangout for the youth of the town and it is here that 'nice girl' Julie meets and falls for Billy Bigelow a uncouth, rough, smart ass who works the carousel

He also hit works the local girls, and the owner of the carousel.

Julie, a 'nice girl' is also attracted to Billy, which seems unlikely until I hark back to my own youth.

Then the local girls would get giddy with excitement when the young fairground lads rolled into town.

Though different in every respect to his usual conquests, Billy cannot help himself but fall for Julie.

They marry but he quickly realises his inadequacies as a man and a husband and the relationship is doomed.

Billy seeks escape in drink, goes 'off the rails' and is ultimately abusive to Julie, which he is denial about.

Seeing this develop, one cannot help but appreciate the rise in incidents of physical and sexual abuse of women by their partners during lockdown. The causes are likely to be similar.

The relationship is not going to end well and it doesn't.

But while Carousel is certainly a serious work, it is not depressing.

There is real humour throughout, particularly from the wonderful comedic performance of Christina Modestu as Carry and her courtship of John Pfumojena as Enoch.

The two delight in "When The Children Are Asleep"

And the set piece routines are affirming, with "June Is Bustin Out All Over" and "A Real Nice Clam Bake" seeing the ensemble led with glowing talent by Joanna Riding as Nettie.

In the lead roles, Carly Bawden is a rightly restrained as the gentle, loving Julie while Declan Bennett captures the essence of the tortured Billy.

Needles to say the 17 piece band and the large supporting cast are tremendous.

The wood dominated set for this production of Carousel is dramatic and so appropriate to the theme.

The rotating centre stage represents the carousel itself and, more importantly, the continuous rotation of the lives of those trapped in a small town.

I came to Carousel at the Open Air Theatre, not sure what to expect. Except the threat of rain.

There was nothing to worry with the weather and Carousel musical was in turns gripping, funny and foot stomping. Another tremendous evening at the Open Air Theatre.

Carousel runs to 25 September 2021

Useful links

​https://openairtheatre.com