Review: T3’s ‘Carrie’ can be scary but don’t overlook the compelling drama

Theatre Three was one of many theaters that kicked off the Halloween season by bringing horror to the stage this month. For its mainstage, T3 treats its audiences to Carrie the Musical based on the Stephen King novel. Once considered a disaster of a show from its first run in the late ’80s, the glow-up revival with a revised music and lyrics by its original composers Michael Gore and Dean Pitchford with writer Lawrence D. Cohen reflected some of the original story and movie’s darkness mixed with drama and just enough laughs for some levity. 

A co-production with SMU, Theatre Three opened Carrie in previews on Oct. 3 and opening night last Monday, Oct 7. There was a palpable buzz in the building before the start that Monday evening. With such an already enthusiastic audience, it felt as if they had been waiting for this show to hurry up and open. 

Under director Christie Vela’s and music director Vonda K. Bowling’s leadership. The audience was not disappointed by its roaring applause and ovation. 

The story begins with an interrogation focused on Sue about what happened. Clearly something has happened and then the story rewinds to high school days where the students go about their daily routines but also target the unusual and homely Carrie. A bullying incident in the girls’ locker room leads Sue to rethink her actions and becomes sympathetic toward the girl she grew up with. That feeling is coupled by her boyfriend Tommy who also sticks up for Carrie. At home, Carrie’s mother Margaret is a religious zealot who only sees negative influence outside her house and oppresses Carrie with prayer and curse. At school, Chris and her boyfriend Billy have their eyes set on Carrie that climaxes into a humiliating homecoming queen crowning. All the while, Carrie has the power of telekinesis, moving objects with her mind and she unleashes it when confronted with her mother’s abuse and by her high school bullies.

The SMU-student cast delivered a captivating onstage story with remarkable talent alongside the cast of Equity actors. Presley Duyck’s portrayal of Sue was admirably nuanced, transitioning from a bully to a friend that then culminated in a heartbreaking traumatic episode. Alongside John Broda as Tommy, both gave compassionate performances that anchored the show, bridging the gap between the other high school students and Carrie. The pair shared a sweet chemistry, with Broda’s sensitive approach to Tommy resulting in a polished portrayal.

If there was ever a mean girl, Camila Escobar’s Chris was it. Escobar played a most intimidating bully, but she skillfully avoided becoming a caricature. Similar to Duyck, Escobar’s character had her own transformation, with Chris gradually exhibiting increasingly negative traits. Escobar’s portrayal of Chris’ deterioration from Sue’s friend to antagonist was executed with panache. Janson Hanes, who played Billy, Chris’ boyfriend – or possibly henchman – perfectly captured the impudence and arrogance of an older, held-back high school bully.

Bringing the adult perspective and some wit to the show were Kally Duncan and Brian Gonzales as Miss Gardner and Mr. Stephens. Playing the girls coach, Duncan was appropriately strong-willed but then tender as Miss Gardner befriended Carrie. Gonzales provided the most comic relief as the teacher who didn’t GAF. Equipped with some burning zingers, his Mr. Stephens was both an injection of laughs into the show and a counterbalance to Miss Gardner.

As for the other adult, Cara Statham Serber’s portrayal of the manically devout Margaret was remarkable for its depth and complexity. Margaret was a maternal figure, but her misguided loyalties to her higher power overshadowed the love for her daughter. This lady was not gonna get it together anytime soon either. Serber conveyed this internal conflict not just through her actions but also through her expressive eyes. Even when engaged with other actors, Margaret’s summoned a chilling sense of despondence.

Of course, Carrie the Musical hinges on the right Carrie and Jordan Lage stepped up to the plate. Her performance and vocals all had astonishing gravity that made Carrie real. In the bullying scenes, Lage’s reactions felt so visceral but in Carrie’s vulnerable moments, the actor tapped into those with a lovely touch. Also, she didn’t play Carrie as weird or different. Carrie was just quiet and to herself but when prompted to come out of her shell, Lage showed us this teenage girl who did want to fit in. In short, an unforgettable performance. 

Vela’s direction mixed the drama and comedy well with the touches of special effects and the gloomy ambiance of Carrie’s home life. Plus, the complexity of blocking her characters all throughout the theater added an immersive touch to the show. Her handling of the musical numbers was also a delight that showcased well-crafted choreo by Joel Ferrell. Dylan Anthony Hudson served as the show’s assistant director.

Mostly contemporary in sound, the music felt like a range of pop and rock and Broadway handled deftly by Bowling and the five piece band of players. Dennis Langevin’s guitar work was gravelly and powerful while Molly Wang’s cello felt evocative. Bowling’s keys floated against the rhythms of Sal Bollinger and Kami Lujan on bass and drums respectively. Bowling’s ability to find or set a mood really shined in this production. 

Jeffrey Schmidt’s set was versatile and clever – particularly the multi-layered construct of Carrie’s home. The floor depicted a basketball court and the prom stage set the scene for the show’s climax. Amanda West’s lighting added both drama and spookiness, but was so effective with the lone spot for the interrogation scenes. Brian McDonald’s sound was on point giving the show an added crispness. 

Carrie the Musical felt like it transcended any typical Broadway musical type label and seemed to strive for a more dramatic experience that refused to rely solely on spectacle or horror. The T3 production stuck the landing on achieving those vibes. Not gonna lie; the final scenes could have benefited from more gore for heightened intensity, but overall, Carrie delivered a winning theatrical experience.

The show runs through Nov. 3. 

 –Rich Lopez