Produced by The Kennedy Center
Reviewed by Gary McMillan
Michael Arnold (center) as Jacquot with the cast of Carnival!. (Photo: Joan Marcus)
Carnival! is seldom staged, so I awaited the Kennedy Center’s production with great anticipation, never having seen the show nor heard the full score. When the show debuted on Broadway in 1961, it had a successful run of over seven hundred performances. It received several Tony Award nominations, including best musical and best book, but was passed over for a music (composer) nomination. Hmm. Since the meat of a musical is the music, I wondered if the show would be more sizzle than steak. This made me all the more curious.
Director Robert Longbottom gives Bob Merrill and Michael Stewart’s show every opportunity to sizzle … dazzling set design (Andrew Jackness), evocative lighting (Ken Billington), flashy circus costumes (Paul Tazewell), fabulous production numbers (including a dancing, prancing carousel emerging from a grey packing crate), full-puppet nudity (sorry!, that was Avenue Q), and a first rate cast. Kudos to the Kennedy Center for this polished production. Unfortunately, I was ultimately unmoved by this very wan American musical. While the show boasts the popular song “Love Makes the World Go Round,” if you are humming any tune as you leave the theatre, it may well be the tune Madeline Kahn memorably delivered in the film Blazing Saddles, “I’m Tired.”
In a sea of one-dimensional roles, the most well-rounded and sympathetic characters in the show are puppeteer Jacquot (Michael Arnold) and magician’s assistant Rosalie (Natascia Diaz). Lili (Erini Sevasti) and her two erstwhile suitors, magician Marco (Sebastian La Cause) and puppeteer Paul (Jim Stanek as the tragic romantic lead, a war-wounded former dancer) — are characters sketched with scarce more depth than the charming puppets which steal the too few scenes in which they appear.
Lili seems an unlikely heroine for a 20th century story, diffident (almost shell-shocked) and militantly naïve. Marco’s affectionate (?) name for her is “little mouse,” but she is a mouse not destined to roar. She is given the same simple dress and hairstyle throughout the show (except for her aborted forays as the magician’s audience shill and magician’s assistant) – a little hand-me-down frock passed on from Edith Piaf (in blue, not black) – mouse, sparrow, sparrow, mouse. Sevasti has an uphill climb and, fortunately, brings a sweet charm and beautiful voice to her songs, especially “Mira” and “Yes, My Heart.”
Jim Stanek as hero Paul has a great voice which he wraps around some not very memorable songs. Well, not so much songs as anthems — the kind of music which seems to require that the actor be positioned in a sturdy stance center stage, singing to the second balcony (More Miserables?).
Sebastian La Cause is a handsome Marco, as dashing as he is insincere. He brings to mind the pompous Carl-Magnus from A Little Night Music with a large dollop of the effusive Signor Pirelli from Sweeney Todd. In addition to singing and dancing, he has the added challenge of mastering some classic magic tricks. And he succeeds — with more polish in some than others. For example, he and Rosalie spectacularly wow the audience with a sword cabinet illusion, only to dampen the impact when Marco pulls out the swords and tosses them to his stage hands who catch them by the blades. Better to drop the swords on the floor than dispel the illusion that they are razor sharp.
The sad-sack role of Lili is no match for the supercharged Rosalie. At first, Natascia Diaz seems to be channeling Googie Gomez (Rita Moreno’s hilarious role in The Ritz). Like Adelaide in Guys and Dolls, Rosalie gets a lot of mileage, and a lot of laughs, out of her matrimonial plight. Diaz keeps the audience in stitches with her lover’s lament and the barbs she directs at Marco, the cad she adores. Diaz flawlessly delivers one of the shows most appealing songs, “Always, Always You.” You can almost hear her purse click shut as she picks up the show, drops it in, and walks off the stage at the end of the number.
The show is also well served by Michael Arnold as Jacquot. Arnold is a triple threat as actor, singer, and dancer. He provides sage wisdom and sympathy as mentor to both Paul and Lili. He’s magical as he ushers in the Grand Imperial Cirque De Paris in the ravishing production number.
This is a must show for musical theatre aficionados.
(Running time: Approx. 2 hours, 10 minutes (no intermission)). Plays at the Eisenhower Theater of The Kennedy Center thru March 11th. Tickets: $25 – $90. To order, click here.
This production made me feel old, tired and wishing I had spent my Saturday afternoon in the sunshine rather than inside the Kennedy Center. The ringmaster appeared uncomfortable, Lili’s version of naivity was impossible to believe and excuse me? Carrot Top??? The one outstanding and memorable performance was by Michael Arnold, Jaquot. With just a little modern day twist to the story….he should have been portrayed as the puppetmaster of the other characters, since he seemed to be the only living actor living his role. All others just puppets.
This one didn’t really bowl me over. It was sluggish, with what seemed as parts, or something, missing. But there were PARTS of it I liked. The puppets (Carrot Top, Horrible Henry, Marguerite, and Renardo) were wonderful, and the puppet theaters were beautiful. I practically found myself enjoying the puppets moreso than I did the people. Some of my favorite human characters were Jacquot -always had hope regardless of the circumstances surrounding him. It seemed things perked up or tended to thrive in his presence, unlike the other characters who postured in that “it’s all about me” tedium, which got old quickly. Then there was “Schlegel” the impressive ringmaster who walked tall, in control, commanding, and demanding as he barked orders. Loved the Pony Dancer costumes, and “Yum Ticky Ticky Tum Tum” sung by Lili and the Puppets. The orchestra was awesome. I believe this was the same orchestra that did the American Ballet Theatre’s “Othello” this past January at the Kennedy Center.
What a piece of garbage- the production was pretty beautiful to look at- but in the end I was just left thinking why in the world was that necessary? What a waste of money. All the musicals they could have produced and they picked Carnival? Why? And Peter Marks called it the best in years. Excuse me Mr Marks but did you see Mame? Certainly not amazing, but at least a good musical. Both had their problems- both had a lead actress who was not up to the part. The difference here was that the Lili was just flat out boring. I must say you were dead on about Natascia, Gary. It’s as if whenever she left the stage the show went with her. Found myself constantly turning to my boyfriend and asking when is she coming back. In the end I was left with a very poorly written musical, a great design, a mediocre lead at best, and Natascia Diaz- brilliance among the garbage.
Very good review Gary. You saw the show just as I did. It definitely was not one of my more memorable theater experiences. Not the worst show I’ve ever seen, but certainly not the best.