CARRIE - MGM/Screen gems
Directed by Kimberly Peirce
Screenplay by Lawrence D.Cohen, Roberto Aguirre-Sacasa
Starring Chloe Grace Moretz, Julianne Moore, Judy Greer
CARRIE. The Musical - Squabbolgic Independent Music Theatre
Directed by Jay James-Moody
Book by Lawrence D.Cohen, Music by Michael Gore with Lyrics by Dean Pitchford.
Starring Hilary Cole, Margi de Ferranti, Adele Parkinson, Bridget Keating, Rob Johnson, Andy Johnston
Stephen King's popular book has seen several incarnations whether it be on film, television or on the stage. This week I saw both the 2013 film remake, and the musical. With schoolyard bullying regularly being a hot topic amongst parents and the media, the story of an ostracised teenage girl with telekinetic powers is more timely than ever. Though horrific events occur at times, I have never seen CARRIE to be a horror story, to me it is more a tragedy of what comes when one is pushed to their limits, hits their brink and exacts revenge.
The film, directed by Peirce brings the story straight into the present; an initial bullying incident is filmed on one of the perpetrators mobile phones and uploaded online. The performances from Moore (Carrie's fantastically religious mother, Margaret White) and Moretz (Carrie) are good but I found that the movie races ahead so quickly that important dialogue is either rushed or is quite difficult to hear. For me, Alex Russell as the villainous Billy Nolan was the film's real surprise. Russell captures the primal brutality of the character perfectly.
By the time the film climaxes, our antihero is certainly out for blood and in this version, gets it in abundance. Whilst I did not really enjoy seeing the 'CGI flying Carrie', I must confess that I did think that this climax delivers. With US school shootings being far more regular than they should be, it is food for thought that Carrie more or less does the same thing, however her weapon of choice happens to be her mind.
Ultimately, there is not enough build up or development of character and one senses that this is not the film that Peirce would have put up on the screen had she not been at the mercy of the studio. Still, it definitely has it's moments and brings something new to the story. Definitely worth a visit.
When it originally appeared on Broadway in the late 80s CARRIE.The Musical earned it's reputation as the biggest flop ever, and lasted only 4 performances. It gained a cult following of sorts with enthusiasts hoping for a revival; which eventuated in a revised version Off Broadway in 2012.
Whilst I myself am a big fan of the camp 1980s flop, to me, the story of Carrie does not exactly 'sing'. Squabbologic however, offers a solid production that makes the most of the musical's shortcomings. The high camp moments of it's 80s predecessor are all but gone. It uses flashback device to tell the tale and due to some inspired direction by Jay James-Moody the audience is frequently taken from the present back to the story with ease.
There are some outstanding performances by Hilary Cole in the title role, and Margi de Ferranti as the troubled teenager's mother Margaret. Their powerful voices bringing chills at times to this reviewer. Adele Parkinson as good girl Sue Snell is perfectly cast and shows great range. Rob Johnson as her boyfriend Tommy Ross has a voice one could listen to for hours. Bridget Keating as gym teacher Lynn Gardner, and Andy Johnston as George offer great support.
What surprised me most was the excellent stagecraft on display here by Scenic Designer Sean Minahan and Lighting Designer Mikey Rice. Not knowing what to expect, I found the instances where Carrie exercised her telekinetic powers to be simple, yet exceptional. To go into any detail would be to spoil the surprise. It is obviously not easy in a production with a modest budget to convey the destruction of a school gym, but this production does so perfectly.
To discuss why would be to ruin it, but don't leave the theatre in too much of a hurry at the end of the performance.
Directed by Kimberly Peirce
Screenplay by Lawrence D.Cohen, Roberto Aguirre-Sacasa
Starring Chloe Grace Moretz, Julianne Moore, Judy Greer
CARRIE. The Musical - Squabbolgic Independent Music Theatre
Directed by Jay James-Moody
Book by Lawrence D.Cohen, Music by Michael Gore with Lyrics by Dean Pitchford.
Starring Hilary Cole, Margi de Ferranti, Adele Parkinson, Bridget Keating, Rob Johnson, Andy Johnston
Stephen King's popular book has seen several incarnations whether it be on film, television or on the stage. This week I saw both the 2013 film remake, and the musical. With schoolyard bullying regularly being a hot topic amongst parents and the media, the story of an ostracised teenage girl with telekinetic powers is more timely than ever. Though horrific events occur at times, I have never seen CARRIE to be a horror story, to me it is more a tragedy of what comes when one is pushed to their limits, hits their brink and exacts revenge.
Chloe Grace Moretz and Julieanne Moore turn in some good performances
The film, directed by Peirce brings the story straight into the present; an initial bullying incident is filmed on one of the perpetrators mobile phones and uploaded online. The performances from Moore (Carrie's fantastically religious mother, Margaret White) and Moretz (Carrie) are good but I found that the movie races ahead so quickly that important dialogue is either rushed or is quite difficult to hear. For me, Alex Russell as the villainous Billy Nolan was the film's real surprise. Russell captures the primal brutality of the character perfectly.
Alex Russell exudes sex appeal as the brutish Billy Nolan
By the time the film climaxes, our antihero is certainly out for blood and in this version, gets it in abundance. Whilst I did not really enjoy seeing the 'CGI flying Carrie', I must confess that I did think that this climax delivers. With US school shootings being far more regular than they should be, it is food for thought that Carrie more or less does the same thing, however her weapon of choice happens to be her mind.
In the 2013 remake, this Carrie means business
Ultimately, there is not enough build up or development of character and one senses that this is not the film that Peirce would have put up on the screen had she not been at the mercy of the studio. Still, it definitely has it's moments and brings something new to the story. Definitely worth a visit.
Newcomer to Sydney theatre scene Hilary Coles shines in the title role
When it originally appeared on Broadway in the late 80s CARRIE.The Musical earned it's reputation as the biggest flop ever, and lasted only 4 performances. It gained a cult following of sorts with enthusiasts hoping for a revival; which eventuated in a revised version Off Broadway in 2012.
Whilst I myself am a big fan of the camp 1980s flop, to me, the story of Carrie does not exactly 'sing'. Squabbologic however, offers a solid production that makes the most of the musical's shortcomings. The high camp moments of it's 80s predecessor are all but gone. It uses flashback device to tell the tale and due to some inspired direction by Jay James-Moody the audience is frequently taken from the present back to the story with ease.
There are some outstanding performances by Hilary Cole in the title role, and Margi de Ferranti as the troubled teenager's mother Margaret. Their powerful voices bringing chills at times to this reviewer. Adele Parkinson as good girl Sue Snell is perfectly cast and shows great range. Rob Johnson as her boyfriend Tommy Ross has a voice one could listen to for hours. Bridget Keating as gym teacher Lynn Gardner, and Andy Johnston as George offer great support.
de Ferranti and Cole's 'And Eve was Weak' is a highlight
What surprised me most was the excellent stagecraft on display here by Scenic Designer Sean Minahan and Lighting Designer Mikey Rice. Not knowing what to expect, I found the instances where Carrie exercised her telekinetic powers to be simple, yet exceptional. To go into any detail would be to spoil the surprise. It is obviously not easy in a production with a modest budget to convey the destruction of a school gym, but this production does so perfectly.
Some stunning stagecraft on display by designers Sean Minahan and Mikey Rice
To discuss why would be to ruin it, but don't leave the theatre in too much of a hurry at the end of the performance.
