Booked & Scene

Boston Lyric Opera’s Carousel has spun its way back into the Emerson Colonial Theatre, a fitting homecoming for the show’s 80th anniversary. It’s the very same stage where Carousel had its last out-of-town tryout before heading to Broadway in 1945, and now, in 2025, it returns with one big question riding alongside it: Can Carousel work now?  

The plot, centered around redemption, second chances, and the complicated legacy of love, is quintessential Golden Age. But so much has changed in the world—and in the world of theater. There’s a curiosity, maybe even a responsibility, to ask whether these stories still resonate. BLO’s answer? A thoughtful and polished production that honors the original while interrogating it just enough. Whether or not the show itself belongs in today’s regular rotation is another question entirely.

Front Row to the Pit: The Orchestra Takes Center Stage  

Who needs the edge of your seat when the orchestra is right there at your seat? With the first few rows of the Colonial removed to showcase the musicians at eye level, the entire audience was gifted a front-row view to a musical masterclass. David Angus led the ensemble with precision and passion, guiding Rodgers’ sweeping score with emotional depth and impeccable control. From the iconic “Carousel Waltz” to the haunting final notes, this orchestra didn’t just accompany the show—they elevated it. A true highlight.

Ensemble Energy: All Aboard the Carousel  

The ensemble brought BLO’s Carousel to life with cohesion and chemistry. Every performer contributed to a rich, layered world that gave the carnival a real sense of place and history.  

Alexander Davis as the Captain commanded attention with magnetic stage presence—I found my eyes drawn to him again and again. Markel Reed’s Jigger Craig was a charming scoundrel, capturing the rough edges of the character with flair. Lee Pelton as the Starkeeper earned entrance applause and brought a grounding, wise energy to the stage. And Abigail Marie Curran’s Louise was both graceful and emotionally grounded, especially in the dance sequence that highlights her character’s longing and loneliness.  

This ensemble didn’t just perform—they built a community before our eyes.

Sets, Spins, and Style Updates  

Set designer Sara Brown turned the stage into a dilapidated dream. The towering roller coaster structure and decaying carnival elements felt immersive and eerie—a nostalgic ghost of joy. The carousel itself was cleverly constructed, appearing piece by piece, and when it finally spun, it was magical. If anything, I wish we’d gotten more of it; the carousel could’ve lingered a little longer.  

Costume designer Haydee Zelideth brought flair and freshness to the production. The looks felt modern and theatrical, bridging the 1940s with today in a way that nodded to the past while keeping one foot firmly in the present.

Timeless or Time to Move On?  

Ultimately, Carousel is a product of its time—and that time may be behind us. While BLO’s production is gorgeously staged and thoughtfully cast (the racially diverse ensemble was a welcome and needed evolution), the show’s pacing, length, and outdated messaging make it hard to fully embrace in 2025.  

Clocking in at nearly three hours, it asks a lot of its audience—especially one that, based on the night I attended, skewed significantly older. Younger theatergoers may find themselves wondering whether this story needs to be told again, and whether the energy spent reviving it could be better directed elsewhere.  

Still, there’s value in revisiting the classics—if only to see how far we’ve come. BLO’s Carousel is a well-executed, deeply considered revival. But maybe, just maybe, it’s time to let this ride come to a graceful stop.