Foote in the Door Productions highlights domestic violence through Carousel

Richard Rodgers and Oscar Hammerstein have composed some of the most quietly powerful and emotionally stirring musicals in the American canon.

But none is more poignant, sadder or has provoked more conversation than Carousel, the tragic love story of carnival barker Billy Bigelow and millworker Julie Jordan.

Similar to Romeo and Juliet, this working class romance is doomed from the start. Based on Ferenc Molnar’s 1909 story Liliom, Carousel delivers a cruel, desperate whiplash and Rodgers and Hammerstein did not sugarcoat the original text.

The brash hero, to put it quaintly, is abusive and slaps his girlfriend when he’s angry. Even worse, Julie excuses his bad behaviour due to his difficult upbringing.

When Billy learns Julie is pregnant he commits a violent robbery to support a growing family. But the robbery is foiled and he fatally stabs himself to avoid police capture.

Domestic violence has been the subject of numerous dramas, but the fact it was first brought to the stage in 1945 is groundbreaking. Unfortunately, more than 70 years later, domestic violence still shows few signs of diminishing.

“We’ve made progress in talking about it, but it’s still here. It’s a very important issue and we need to increase awareness. We need to escape spousal abuse,” said St. Albert actor Russ Farmer.

He plays the lead male role of Billy in Foote in the Door Productions’ revival running June 16 to 18 and 21 to 24 at L’UniThéâtre.

Carousel is a challenge to produce notwithstanding the beautiful musical score with the defining tour-de-force Soliloquy or the serenely uplifting You’ll Never Walk Alone.

The challenge comes when the audience is asked to like and even forgive Billy. But how does a 21st century audience warm to man who beats his wife?

“I tried to humanize him, but not downplay he’s unemployed and he’s an alcoholic,” said Farmer who worked with a vocal coach for more than two years to synchronize his emotional range with his baritone vocals.

“Billy in many ways represents a child. He is a victim of the time and circumstances he grew up in. He doesn’t have the tools to deal with when he feels cornered. He doesn’t think he’s worthy of love. He’s a loner, a transient. He doesn’t have any personal connections and falling love requires him to make a personal connection. And he has a streak of violence, he can’t control. He feels guilty afterwards. At heart, he wants to be a respected guy taking care of others.”

Mary-Anne Perley, directing her first full-length musical with Foote in the Door, notes that Julie sees through Billy’s rough bravado.

“She trusts him, something he hasn’t had before. She’s attracted to him and gives him love based on what he needs. She sees the violence, but is not threatened by it,” Perley said.

As director, she shies away from casting judgment and explores the broader picture.

“It was the turn of the century and family violence was kept private, behind closed doors. Now thankfully, we get more involved. Perhaps Rodgers and Hammerstein were saying we need to look at violence and how it happens.”

Interestingly, in a parallel love story, Julie’s friend Carrie falls in love and marries Enoch Snow, a poor fisherman with big plans to have nine children and own a fleet of boats.

“He’s very patriarchal and controlling. He’s the man and he makes the plans while the little woman falls in line,” explained Perley.

Morinville actor Rory Turner, a graduate of MacEwan’s musical theatre program, has nabbed the role of Enoch and views his character as a very giving and driven man who has met his match in Carrie. He adds much of the two couples’ differences are evident in the songs they sing.

“Enoch and Carrie’s songs are a lot brighter. They go in a more positive direction. They’re very hopeful, very bright, very dreamy. It’s all about their hopes and dreams. They’re always focusing on something they will have in the future,” Turner said.

“Julie and Billy, instead, are more reflective of the current situation. They don’t think of the future. They live in the moment and how beautiful it is.”

A 15-piece live orchestra will accompany the full score.

“Come for the beautiful music and the story is worth telling.”

Foote in the Door hopes to use Carousel to draw attention to domestic abuse by partnering with WIN House. On Thursday, June 22, there will be a pre-show talk with WIN House where they will discuss new projects.

As well, $2 from every ticket sold that night will be donated to the women’s shelter. Throughout Carousel’s run, performers will collect donations for this much needed organization.