musical

Once you have been through “the high school” experience, your nostalgic memories may be one of joy and laughter. Others may remember things differently. Very differently. Carrie White and Sue Snell are two such characters. At school, Carrie (Kayla Stevenson) experiences extreme bullying and continuous group harassment. She’s taunted relentlessly and humiliated by a group of kids, led by the vicious classmate and influential ringleader Chris (Jordan Miller). Sue (Emily McKenzie), Chris’ best friend, begins to realise the emotionally damaging effect that Carrie is experiencing from the groups’ cruelty. She begins to reflect on how to help Carrie regain her self-confidence, enlisting her boyfriend Tommy (Harry Moorby) in an idea to show Carrie a little kindness. Events lead to a shocking conclusion.

Carrie’s homelife is not a happy one. Over the meal table, her overprotective mother Margaret (Felicity Amos) shows intense religious fervour, smothering Carrie in lectures about her reverent devotions and how her daughter should behave. Felicity’s performance showing Margaret’s destructive fanaticism was outstanding. Her singing and stage presence where she is towering over Carrie, both physically and with her words, were so intense that I was feeling how Carrie would have been feeling – terrified!

Kayla delivered a captivating performance of Carrie, subtly changing from someone unsure and beaten, to a strong, angry girl who realises her telekinetic powers and her potential to fight back, with devastating consequences. Her opening song, “Carrie” mesmerised me, with many different tempos and styles showcasing her versality.

Jordan’s powerful portrayal of the cruel Chris was convincing; her singing and mocking attitude while ridiculing Carrie effectively revealed Chris’ scheming nature. Emily’s character Sue was at the opposite end of the spectrum. In a world where teenage followers typically conform without question, Emily’s depiction of her character’s self-awareness and decision to break away from her friends felt genuine.

Co-Directors John Hanna and Blake Williams have put together a well-crafted musical. The production team included the musical director Lindsay Kaul, and costume designer Katie Griffiths (the 1970’s clothing was funky – especially the prom tuxedos, shirt front frills and all!) I was impressed with the sound design (Kieran Vella) particularly at the musical’s introduction with the foreshadowing of the crackling fire, and use of lighting throughout the show (LKR Productions and Blake Williams) which added dramatic elements effectively. Although the use of props was minimal, Blackout Theatre Company’s use of projection (Adam Ring) on the back wall to set the scenes was effective, showing the audience without the need for revolving floors and detailed physical backdrops where everything took place.

“Carrie the Musical” is not a typical ‘feelgood show’; there are no dancing in the aisles at the curtain call and no happy endings where the hero/heroine triumphs. Although I had neither read the original novel nor seen a performance of this musical before, I knew the premise of the story. As a fan of musical theatre, I was unsure of how a horror novel could be successfully adapted into this genre. However, I was impressed by the cast and ensemble’s storytelling which, through the music (Michael Gore), lyrics (Dean Pitchford) and expert choreography by Jane Houlihan, delivered a powerful and thought-provoking experience. Kudos to the seven-person live band which made the musical so much more brighter in sound, than a pre-recorded backing ever could.

This production effectively showcased the horror of abuse and highlighted the importance of kindness and empathy. This is as relevant today in high school and life, as it was fifty or so years ago when Stephen King’s novel was first published.

The Blackout Theatre Company’s production of “Carrie the Musical” plays for three days at the Pioneer Theatre, and it seems a shame that it’s only running for a such a short run. The effort invested to create this captivating musical makes it clear that it deserves an extended season – in Carrie’s words, “…this might be the start of my journey, out of the shadows, and into the light!”

Theatre: Pioneer Theatre 12-14 Pennant St, Castle Hill
Dates: 21- 23 November 2025
Time: 2 hours, with interval
Tickets: www.pioneertheatre.com.au/whats-on/carrie-the-musical

To book tickets to Carrie: The Musical, please visit https://www.blackouttheatre.com.au/.

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