Book by Lawrence D. Cohen

Lyrics by Dean Pitchford

Music by Michael Gore

Directed By Elise Siddiqui

High school is hard enough. But for Carrie White, the titular character and horror icon of Stephen King’s 1974 novel, brought to life with Sissy Spacek’s exemplary performance in the 1976 film, things are a lot tougher. Her home life is a den of crucifixes and penance under the hand of her zealous mother, and after having her first period, her classmates can’t help but take their bullying of the socially detached Carrie to the next – gory – level.

Not without its loyal following, to describe Carrie: The Musical’s history as anything other than tumultuous would be generous – largely considered a flop in both its original 1988 and the revived 2012 form. A mostly pop opera soundtrack, peppered with more than a few too many novelties of a teen flick, Lawrence D. Cohen’s book (with lyrics from Dean Pitchford) struggles to balance the new form King’s story takes but manages to retain the ripples of ostracism, shame, and vengeance, something which director Elise Siddiqui leans into, much to the productions’ credit and enjoyment.

The determination of the University of St. Andrews Musical Theatre Society (MusT) to source enjoyment from the production is adamant and with some solid vocals and an injection of humour leaning heavily into King’s original schlocky horror, they salvage much of what still speaks to audiences about the show. Benefitting from a fantastic live band and a trio of leading performances which capture the character and what made the original film so unique, they all work in their favour to bring this prom fiasco to new life and well-deserving applause.

Performing the 2012 version, the titular Carrie initially finds themselves as a fitting sub-character to their plot, opening instead with her classmate Sue Snell under the authoritative lights of a police interrogation (with some brilliantly effective lighting design from Lucy Turner’s lighting tech). The infamous finale of King’s 1974 horror novel has already occurred, and Sue is at a loss to explain what happened but can’t help but feel they’re responsible for the bodies which litter the school prom. Hana Ward brings sincerity to Sue and offers audiences a genuine connection to the heavy trope use of American high school drama. Where much of the humour relies on the jocks, and gags made at the expense of the staff, sexually repressed teens, and the ‘freaky’ Carrie. Ward brings a touch more delicacy and impressive vocals to ease the audience into the musicality of the production before it begins to lean heavily into the operatic.

In a marvellously sympathetic but cruel, and terrifying performance, Eleanor White makes the role their own. There are inescapable resemblances to Spacek’s vulnerability, but White performs a shockingly authentic Carrie (even with the telekinesis) as a young woman, sheltered from the realities of the world – tortured by her peers. Intimidating yet fragile White’s vocal control is perfect for the role – even rising over Pitchford’s awkward lyrics to bring the opera within this beast of a musical to life. A departure from the pop-heavy songs co-stars often perform, White (with Orsolya Hayne’s canny vocal direction) elevates their solo performances into stand-out moments which channel a distinctly unearthly feel to the space.

Similarly, though more as an antagonist, the flickers of believability in the extent to which Emily Speed takes Margret, Carrie’s pious mother, remain within a grounded world. Vocally the pair shine, both in harmony and individually, often being the saving grace for the rather forgettable lyrics that flip-flop between techniques, though thanks to Hayne’s vocal directions it’s only noticeable for a few song transitions. The pair’s back-and-forth aggression and reliance on the other begins the production’s use of movement, with Charlotte Cook’s prop use and Cerys Thornton’s sound tech helping to sell the more supernatural elements of the show effectively.

Where the show’s movement really comes into use is with Calia Reilly’s choreography, which has to find the delicate balance of the more pop-energetic numbers in the high school with the more intimate moments with White’s Carrie, often more hunched and sheltered. The entire cast does a sterling job at keeping up with the more jukebox musical moments of choreography, often at its best when used for comedy or ensemble (Luke Siever, Poppy Kimitris, and Ella Byrne-Cabot excelling here). Putting their chemistry to good use, Taylor Colbeth’s high school bitch Chris, and boyfriend(?) Billy Nolan (given great gusto by Callum Wardman-Browne) carries these more mundane moments of everyday high school, leading up to the crux of the show: prom night.

With effective staging, this juncture in Act Two is where the whole Society comes together to embrace the horror elements of the show and showcase where the musical does succeed. After the show’s opening that is scarier than it has any right to be; here is where the horror takes over as the doors to the lecture hall lock, and the infamous bucket of pig’s blood tossed, Cameron Collier, Struan Barker, and Audrey Ivester frantically attempt to escape and set the mood perfectly. Caught in the cross-fire, Carrie’s only real allies throughout provide additional dimensions of care and humour thanks to Heather Tiernan, Cailean Robertson, and Johnathan Stock’s role as Tommy – the lad who takes Carrie to the prom as a way to make amends for the poor treatment she’s received thus far. Their characters are crafted in a way which strikes with a sense of grief once their fates unfold, particularly Robertson as coach Gardener.

Michael Gore’s music is a saving grace for the musical, and it’s brought to every terrifying delight or sappy love-struck moment by Emily Maxwell’s orchestral direction and conduction of the live band (Robert Kennedy, Kaitlin Shaw, Matt Zhang, Krishitika Mishrs, Neve Green, and Cat Orr), situated behind the performers all night – and doing a fine job at balancing projection and complimenting vocals (particularly Sophie Longstaff, who can be pin-pointed in ensemble numbers pushing out with a compelling tone).

For the issues that the show has long suffered (and continues to), MusT delivers a night which lives in infamy for all the right reasons and absolves the sins of the past. Delivering chills, impressive vocals, and a fair few laughs, they make amends for Carrie’s troubled past and give it a fresher sense of vigour for audiences unfamiliar with the show – and a chance to enjoy a classic horror tale in a new form. 

---