Get to know her name: "Carrie: The Musical" electrifies

Callie Johnson (center) and the cast of Bailiwick Chicago’s Chicago premiere of CARRIE: The Musical with music by Michael Gore, lyrics by Dean Pitchford, book by Lawrence D. Cohen, based on the novel by Stephen King, directed by Michael Driscoll and music direction by Aaron Benham. Photo by Michael Brosilow.

Cross-posted from Broadwayworld.com

Forget for a moment that “Carrie: The Musical” is based on Stephen King’s terrifying debut novel and the subsequent iconic 1976 Brian De Palma film. And I know it will be exceptionally hard, but also forget that the show is a much-revised version of the cult-classic, infamous 1988 Broadway flop (thankfully, the book has exorcised most –if not all-of the demons that initially made the show a campy, miserable failure).

“Carrie: The Musical,” enjoying its Chicago premiere at Bailiwick Chicago at Victory Gardens through July 12, soars like a phoenix on the strength of the performances of its leading ladies and a terrific ensemble cast. If you’re looking for camp, look elsewhere. This is a serious and somber tragedy t electrifies. As seen with the Bailiwick production, “Carrie” deserves to be rescued from the pile of shows whose Broadway dreams did not pan out.  

Aside from merely being entertaining, any revival (even revivals of failed musicals) needs to have some cultural, political or social relevance to the era in which it is being produced. “Carrie” is no different and she comes bearing quite a message. 

In 1955’s “Rebel Without a Cause,” it was teens rebelling against society. In the musical “Carrie” (book by Lawrence D. Cohen who also wrote the film script; lyrics and music by Academy Award winners Dean Pitchford and Michael Gore, respectively) teens have become society and now battle each other with tragic results.

 Henry McGinniss, Rochelle Therrien as Tommy and Sue (background, left to right) and Callie Johnson as Carrie (front) Photo by Michael Brosilow.

As the sounds of police cars, fire trucks and ambulances are heard, the lone witness and survivor to the carnage from teleknetic rage, Sue (Rochelle Therrien in a delicate, but emotionally powerful performance) sets the tone with the first line of dialogue: “You have to understand: we were just kids.”  

Sadly, school massacres have almost become commonplace in America. 

Yes, crosses, books and other things get thrown in fits of telekinetic rage, but nowadays, it’s more likely to be a gun than supernatural powers that leads to a high school tragedy. Kids, just being kids, and, as Sue notes at the end, “once you see, you can’t unsee.“  

Carrie White, it would seem, is not the only one who views themselves as an outsider. In the energetic opening number “In,” a group of high schoolers lament “Life just doesn’t begin/until you fit in.”

It’s hardly earth-shattering news, but, yes, teenagers, in their effort for peer acceptance, will often turn on anyone and everyone who is different quicker than you can grab your copy of Lord of the Flies.

As the tortured Cinderella of the piece, Callie Johnson initially sings of bringing her fellow classmates down to their knees in the title song, and yet Johnson manages to illicit our sympathies. The song (and Johnson’s performance of it) shows us the seed of rage that will be the source of her powers later on. For the most part, she just wants to fit in like everyone else and dreams of dancing, laughing more than she does.

 Katherine L. Condit (left) and Callie Johnson. Photo by Michael Brosilow.

As Carrie’s mother (and chief antagonist) Margaret, Katherine L. Condit still physically, mentally and spiritually abuses her daughter, but the results here are less over-the-top villainy and more the signs of an over-protective parent. Condit sings such hymns such as “Open Your Heart” and “When There’s No One” with such sweet conviction 

If there is one cartoonish portrayal, it is that of Carrie’s chief tormentor, Chris (Samantha Dubina). Though, to be perfectly fair, it’s not Dubina’s fault. She has to deliver the line“There’s a runt in every litter and our runt is Carrie White.” and in the song “The World According to Chris” sings “better to strike then get struck\better to screw than get screwed.”   

Michael Driscoll’s direction keeps things moving along with an energy that pulses from the first number to the last. Brigitte Ditmars’ choreography has the required youthful vitality, particularly in the group numbers. 

Stephen H. Carmody’s sterile and industrial set, with suspended metal lockers and chain link fencing evokes a sense of imprisonment more than it does high learning. To some teens, that’s the point, though. 

The second act opens with an ensemble song about the prom that is both hopeful and energetic; it includes the lyrics “You ain’t seen nothin’ yet\it’s gonna be a night we’ll never forget.” Given what we know is in store for these kids, it’s the musical foreshadowing of the horror film standard of “don’t go in there.”

If you’ve read the book or seen the movie, you know how things must end. To Johnson’s credit, you heart still breaks for Carrie as those events play out, though. I found myself wishing Carrie could have her happy ending this time.

"Carrie: The Musical" runs through July 12 at the Victory Gardens Richard Christiansen Theater, 2433 N. Lincoln. Tickets, $40. (773) 871-3000. bailiwickchicago.org. 

Drury Lane's 'next to normal' is anything but

Susie McMonagle: dust off that Jeff award shelf.

One would never associate “next to normal” with traditional summer musical fare. Light-hearted it ain’t.  The Tony-award winning show is an uncompromising look at one family’s attempt to cope with the matriarch’s mental illness. The show also serves as an indictment of a mental health industry that at times seems more interested in grooming life-long pill-popping consumers than addressing the underlying causes of some disorders.  

Musicals such as “Gypsy” have dipped the proverbial toe in the mental health water (“Rose’s Turn” is essential a nervous breakdown set to song), but few shows have ever wrote an entire book around the topic of mental health.

As a musical, “next to normal” is less “Mama Mia!” and more “Mother Courage.” This makes the current production of the show at Drury Lane Theatre in Oakbrook Terrace something of a major risk.

I mean no disrespect here, but the show’s gritty, sung-through, rock score and serious subject matter would seem to initially be incongruent with the typical, older suburban Drury Lane subscriber.

Whether it is the Pulitzer-prize winning script or the superbly acted, sung and directed show, the audience at the opening was incredibly receptive to the show.  

Jeff Tolle (Gabe) with McMonagle as Diana

If this production was a gamble, it has paid off in spades. In the lead role of Diana, a wife and mother trying to navigate the fine line between medication and memories, Susie McMonagle is riveting. While the show was originally a vehicle for Alice Ripley, I actually preferred McMonagle’s vocal approach to the role. True, Ripley’s voice had more of a razor’s edge than McMonagle’s that on the onset seems to be more true to the rock score, but McMonagle’s “folk-singer” style makes her Diana more approachable. If the statistics regarding mental health and bipolar disorder are to believed (and I frankly believe they are), we all know someone just like McMonagle’s Diana.

As her much put-upon yet still supportive husband Dan, Rod Thomas turns in what has to be the best performance of his career. Usually cast in comedic roles (you might have seen him in Second City’s “The People vs. Friar Laurence”), the funny man can not only emote, but also belt out the demanding score with the best of ‘em.

As son Gabe, Josh Tolle brings the needed intensity required of the role. The pacing and acting could not be better in the scenes where Gabe and Dan both engage in a tug of war in regard to Diana’s course of mental treatment. Gabe wants to flush the drugs; Dan wants to keep experimenting until they get it right. Each has their own selfish reasons for advocating their respective courses with Diana stuck in the middle.

Newcomer Callie Johnson (as daughter Natalie) has some pitch problems early on (a fate suffered by the Ms. Ripley in the original Broadway run, too). Should those persists, you’re likely to overlook them thanks to her intense portrait of a teenage girl who can’t seem to live up to perceived expectations. Her character resonated more with me than in previous productions. A second act scene between mother and daughter, set in a hospital, is exceptionally moving.  

Rounding out the cast are  Skyler Adams (hilarious as Natalie’s would-be boyfriend who just won’t quit pursuing her) and Colte Julian (in the dual role of Dr. Fine and Dr. Madden). Julian finds more meat the Madden than he does in Fine, but is nonetheless engaging.

Scott Davis’ monochromatic scenic design (ok, there are black chairs so I guess it is bichromatic) perfectly captures the sterility of an average suburban home. Costume designer Sally Dolembo follows a similar pallet in the first act, slowly introducing pops of color in the second act as a way of visually capturing subtle changes to Diana’s mental state.

Under William Osetek’s direction, the pacing and flow could not be better. Actors move from fantastical scenes within Diana’s head to those grounded in reality with aplomb. “next to normal” is musical perfection; it's a theatrical moment not to be missed.