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Regional Reviews: Phoenix Carrie: The Musical
Based on the popular novel of the same name by Stephen King, Carrie tells the story of Carrie White, a shy and outcast high school student who is relentlessly bullied by her classmates and controlled by her fanatically religious mother. When Carrie begins to experience telekinetic powers, her world slowly begins to change. After a cruel prank at school is followed by an unexpected act of kindness by a classmate, Carrie is invited to prom and begins to believe she might finally find acceptance. Set against the backdrop of high school cruelty and parental oppression, the musical explores themes of identity, isolation, and the consequences of fear and intolerance. The 1988 Broadway production of Carrie was infamous for closing after just a few performances and being labeled one of the worst musicals ever, yet its score gained a cult following. Though the creators initially kept it from being produced again, they revisited the show twenty years later, rewriting much of the book, revising lyrics, and adding new songs to create a stronger version that debuted Off-Broadway in 2012 and has since been performed nationwide. Returning to their more effective 1984 workshop as a foundation, bookwriter Lawrence D. Cohen, composer Michael Gore, and lyricist Dean Pitchford crafted the current licensed version. Cohen added important dialogue and clearer development of Carrie's powers, while Gore and Pitchford replaced weak songs with new, stronger material. Shifting the setting to the present day for greater relevance, the show also now uses a flashback structure framed by present-day scenes which bring the musical closer in tone and structure to Stephen King's novel while also enhancing its impact. At the heart of Rising Artists' Collective's production was a deeply empathetic portrayal of Carrie White by Mars Madison, who captured the character's pain, confusion, and yearning for acceptance with a delicate vulnerability that made Carrie's descent into chaos all the more tragic. Madison's performance was layered and human, emphasizing the emotional truth of a girl who just wanted to be seen. Christina Clodt gave an earthy and natural portrayal of Carrie's controlling mother Margaret that made her less of a horrific person and more of an individual who was facing demons of her own. The dynamic between these two actresses gave the show an added layer of depth, grounding the horror in real human consequences. Sue Snell is Carrie's classmate who tries to find a way to help her, and McKenzie Jensen brought heartfelt remorse and maturity to the role. Chris Gamble brought compassion to Tommy Ross, the popular and kind-hearted student who agrees to take Carrie to the prom and grows to genuinely care for her. Jay Schwab was appropriately cruel as Chris Hargensen, the school's queen bee whose treatment of Carrie intensifies after being punished for a prank. Xander Billie delivered a performance that had appropriate moments of volatility as Billy Nolan, Chris' boyfriend, who helps her carry out a vengeful plan on prom night. Marissa Tualla was sweet and sincere as the well-meaning gym teacher, Miss Gardner, the only adult in the show who tries to protect Carrie and encourages her to believe in herself. The large ensemble delivered distinct portrayals of these mostly archetypal characters, with Ellie Klapp's sharp comic timing and facial expressions getting some big laughs. The entire cast brought sincerity to their roles, creating a believable world of teenage pressure, cruelty, and longing. From the cruel bullies to the well-meaning adults, each performer contributed to the production's emotional weight. Zoey Waller's direction made effective use of the intimate stage, never allowing the small space to feel limiting and using just a few set elements to establish the locations in the show. Transitions between scenes were clean and fluid, and the tension was maintained through smart staging choices that maximized the impact of each dramatic moment. The choreography by Brandt Norris stood out as sharp, expressive and distinct, helping to shape the tone of the high school scenes while also capturing the chaos of the infamous prom with intensity. My only quibbles in the direction and choreography had to do with the revelation of a knife that Margaret had, which was presented too early in a scene right after Carrie leaves for the prom, which made the finale less shocking. Also, during "Open Your Heart," the song that introduces Margaret, the choreography for Reverend Bliss and his congregant, who are heard on the radio in the White home, was too busy and distracted from the scene between Margaret and Carrie. While the sets and special effects were simple, they were used thoughtfully and with great effect. Olivia Martinez's lighting used both subtle and sharp shifts in colors and tones, which, along with the creative use of sound, helped build suspense, and the climactic moments involving Carrie's powers were staged in a way that was both theatrical and effective, despite the lack of high-tech wizardry. The result, along with the combination of the closeness to the cast due to the size of the small venue, was a sense of intimacy that actually heightened the horror and emotional resonance of the story. This Carrie may have had a run as short as that original 1988 production but its impact lingered–a chilling, thoughtful take on a musical about a misunderstood girl and the world that failed her. Rising Artists' Collective's Carrie: The Musical ran July 4-6, 2025, with performances at Spotlight Youth Theatre, 10620 N 43rd Avenue, Glendale AZ. Director/ Music Direction: Zoey Waller Cast: |
