Presented by Edinburgh University Footlights

Review by Esme Hallworth

Sanctuary at Paradise in Augustines

A bustling full house welcomed this Footlights company production of Carrie: The Musical for their opening night. The plot follows Carrie, social outcast and daughter to a beyond pious mother, reckoning with a gaggle of high school bullies whilst simultaneously discovering her psychic powers, a gothic Matilda situation. Prom night looms large for the students, an anticipated night that will come to be commemorated more than it will be remembered.

Set in an American high school, a production of Carrie must choose carefully how to handle parody. It seemed, however that intentional and accidental parody could not always be distinguished, with hyperbole and earnest characterisation in tension. Further, though the archetypal American figures were embodied enthusiastically by the cast, the characterisation occasionally blinded genuine moments of vulnerability between characters, where a Disney Channel-esk bully to nerd standdown moments before a heartfelt ballad precluded some of its impact.

Technical issues could scarcely escape notice, where the spotlight frequently appeared to favour a nearby empty space over a soloist and microphones tuning in and out at a whim. These are, of course, typical first night antics that will no doubt be ironed out through its week-long run. The cast did well to sing through these blips, and carried on with nary a flinch. The production’s live band brought a certain momentum, though needed tempering to synthesise instead of compete with the vocalists.

Indeed, the quality of vocals Carries the show. In moments when the ensemble stands together, there is an easy and impressive merging of voices. It was, however, the duets and solos that championed this performance, cutting through some frenzied choreography. The protagonist-cum-telekinetic antagonist of sorts, Carrie (played by Lucy Walker), held her own, an underdog with highly capable vocals. This being said, it was when Carrie and her mother sang together that goosebumps threatened to linger: a harmonic and earnest vocal blend that elicited recurrent enthused applause. Indeed, Carrie’s mother, played by Hannah Whelan, showed real promise, with operatic tones and convincingly haunting characterisation. Equal praise is owed to Sue, played by Tilda Dyer, Carrie’s classmate and reformed bully, who delivered a faultless, stirring and considered performance, bringing a certain professionalism to the production, one to watch.

Energy without proportionate polish establishes a clumsy but sure charm in this production. Though teeth-grittingly parodical at times, it guarantees a good set-list and even better vocals, an opportunity to witness performers with potential give it some gusto.

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