Carrie: The Musical • Pit & Balcony Moves to the Head of the Class

Pit & Balcony’s mesmerizing, captivating, and totally engaging regional premiere of Carrie: The Musical is nothing less than an opportunity to experience community theatre at its finest.  Director Spencer Beyerlein has assembled an ambitious cast of nineteen youthful, energetic, emotionally vulnerable, and highly compassionate actors to take on Stephan King’s 1974 classic, which coupled with the top-notch musical direction of Stephen Nyquist achieves a caliber of delivery through the dramatic weight of its eminently talented cast to equal, if not excel, that of many contemporary national touring Broadway productions this reviewer has witnessed over the years.

There is something rather universal and compelling to me about musical productions such as Heathers, Spring Awakening, and American Idiot that focus upon the High School experience,  because while we often remember the good times of our teenage years, we usually forget the traumas, jealousies, and bullying also served along with our daily lunch break that we may have personally witnessed or endured over the years.

Regardless of whether you’ve read the book or seen the movie, the story behind Carrie carries the same weight today as it did when first published, only through the magic or song and dance manages to add more weight, depth, and dimension to the personal conceits, fears, anxieties, and uncertainties that define the actions of each principle character in this production.

With the script focusing on several of the ancillary characters, as well as the principal ones, each of these actors deliver a stronger sense and better understanding not about how this horrific tragedy in the gym on Graduation night occurs, so much as looking deeper into the important question of why it occurs.

While they often push boundaries in terms of how they present these powerful and relatable themes, when done properly they also possess an undeniable resonance that can hit so close to home you feel discomfort and trepidation, while at the same time making you feel a sense of clarity and excitement about the truths they reveal.

Particularly noteworthy are the performances turned in by Stephanie Bale, as Margaret White, Matthew Howe as Tommy Ross, Chloe Hudson in the lead role of Carrie White, Claire Patterson as Sue (the narrator), and Kiera Shackelford as Chris Hargensen. Each actor gives a powerful portrayal and deconstruction that shines the light of strength and resilience out of the darkness of their wounded and damaged characters.

Turning moments of terror and deep isolation into something that resonates and reveals their  inner anguish in song requires a careful touch to avoid overwhelming or alienating the audience, and the fact this cast is able to accomplish this feat is both haunting and theatrically satisfying - frankly, it made the hairs on my arms shiver and reminded me how no other performance platform has ever managed to do that except live theatre.

Of particular note is actress Chloe Hudson, who emanates an unapologetic strength. From her very first lines, Hudson’s voice leaves no room for doubt - this Carrie has an innate power that surges beneath every note. While the character may struggle with self-doubt and isolation, Hudson’s vocal delivery tells a different story, revealing a strength that feels as raw and uncontainable as Carrie’s emerging supernatural abilities.

As Carrie breaks free from her isolation in preparation for the prom, Hudson’s  whole body shifts, charging the character’s newfound self-awareness with a fearless clarity. In this moment, the power we’ve sensed all along finds its full expression, transforming Carrie from a hesitant girl into a young woman in command of her own story. By not overplaying her vulnerabilities, her strengths are dutifully revealed.

The same is true of Stephanie Bale in her role as Margaret, Carrie’s mother. This 13-year veteran of the Saginaw Choral Society has a voice that doesn’t just move the storyline by explicating her own inner torment, it radiates power in doing so. This deeply religious and highly disturbed mother deftly portrays her role with a voice that flows with resonance and power with each lyric she sings; and when she implodes into weakness and resignation, her tonal control touches something darker and more colored with forboding anguish than we first realize.

Thanks to the talents of choreographer Gloria Heye, and vocal director Sarah Beltran, the entire production team has accomplished a stunning achievement I highly urge you not to miss.

Final performances will be running Friday & Saturday, May 16 & 16^th  at 7:30 PM, along with a Sunday Matinee on May 18^th a 3:00 PM.

You can get tickets by clicking this link.