He has something with Julie that he's never had with anybody.Īre you enjoying doing this show outside the spotlight of Broadway? That's the girl Billy is used to having - a fling here and there but no tenderness. Mullin, so adding that twist has been really exciting.
The sexy Charlotte d'Amboise is playing Mrs. We're creating this kind of love triangle between him and Mrs. I keep saying you have not lived until you've heard Steven sing, "Soliloquy." I kind of stop breathing every time. We're showing Billy and Julie's real love for each other in moments so that the audience can also justify why Julie would stay with him and not just say, Why don't you leave him?! Hopefully we're succeeding at that. But what we're trying to find is the humanity of Billy as well. She kind of breaks the rules in the first scene and stays with this guy who everyone says is a felon…and she's fiercely loyal to him until he dies, despite his flaws. It's been really fun to find her strength. She's not just the naive girl in a pretty dress. Julie is seen as the ingenue but there's so much more going on. This show is deeper and darker than most of the Rodgers and Hammerstein shows. Have you been enjoying taking on another classic Rodgers and Hammerstein character? Laura Osnes stars as Julie Jordan in Rodgers and Hammerstein's Carousel at the Lyric Opera of Chicago. There are already rumors of a Broadway transfer swirling round the Lyric Opera, but for now, Osnes is just reveling in the dream role outside the scrutiny of the Great White Way. At only 29, Osnes is near to completing the repertoire of major Rodgers and Hammerstein ingenues, with Nellie Forbush, Maria von Trapp, and Cinderella among the characters she has under her belt - two of which sit cozily on her Broadway résumé. She currently stars as the lovestruck millworker at Chicago's Lyric Opera, opposite Steven Pasquale ( The Bridges of Madison County), who takes on the role of troubled carousel barker Billy Bigelow. "I would die to do that." Fortunately for her, audiences are just as eager for their Rodgers and Hammerstein and Osnes reunions, so it took less than three years for Julie Jordan to come knocking at her door. But dancers Abigail Simon and Marty Lawson, as Julie’s daughter and an unnamed carnival boy, held court in a pas de deux of sorts that included supported pirouettes along with cartwheels.In 2012, just before Laura Osnes began her Tony-nominated and Drama Desk Award-winning turn in Cinderella, TheaterMania asked her to dream ahead to her next big Rodgers and Hammerstein role. As in the past with HGO’s other musicals like Show Boat and A Little Night Music, the singers are electronically amplified to pick up dialogue, but their voices were picked up unevenly, sounding out in loud bursts and, alternatively, unintended quiet whispers. It’s a bit of an adjustment to see a musical performed by an opera company, not only because the singing is of a very different genre, but also because of the dancing numbers. While some notes in the first act sounded a bit too low for Rock’s range, his instrument is one of overall heft and surprising dexterity. Australian baritone Duncan Rock takes on the gruff role of Billy Bigelow with rakish good grace.
As the ever-supportive friend Carrie Pipperidge, soprano Lauren Snouffer matches Jordan with a sugary demeanor and a serious voice, silver and clearly brilliant. Soprano Andrea Carroll, with a voice that sails from the stage like a dulcet bell, is an ideal Julie Jordan. Close to the end, Julie explains to her daughter that in memory, “hits become kisses.” It’s a heartbreaking rationalization of abuse that cannot find any happy ending. But with a negative influence from his friends (one being a crook in particular), he makes a tragically unwise, last-ditch effort to provide for his family, leaving Julie to be a single mother.
After Billy finds out Julie is pregnant, he experiences a wild new commitment to fatherhood.
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