A superb showcase of future musical talent, Patrick’s School of the Arts’ presentation of Carrie: The Musical is a beauty. There are so many talented performers in the 18 strong cast, all drawn from third year musical theatre students at the school. Based on Stephen King’s debut novel, integrating elements of the 1976 supernatural horror film starring Sissy Spacek in the title role, it is the story of a school outcast.
Carrie White doesn’t fit in. The 17-year-old in her final year is intelligent, but awkward and is constantly bullied. She is mortified when, while showering at school, she has her first period. She fears she is bleeding to death because her mother never discussed that with her. The other girls, including Sue Snell and Chris Hargensen, taunt her mercilessly and it takes teacher Miss Gardner to intervene to stop the harassment.
Thereafter, life is even harder for Carrie, but Sue genuinely regrets the way she has treated her. That draws a wedge between Sue and her best friend Chris, who is not the least bit sorry. The divide between them escalates when Chris refuses to apologise to Carrie, even though Miss Gardner has instructed her to do so.
Carrie’s mother is a God-fearing woman named Margaret, who doesn’t react with sympathy when Carrie tells her about the incident. Instead, she admonishes her daughter. In turn, Carrie develops the power of telekinesis.
Meanwhile, Sue hatches a plan that involves her considerate boyfriend Tommy Ross inviting Carrie to attend the prom with him. But a vindictive Chris conspires with her partner Billy Nolan to get her own back on Carrie in the ultimate humiliation. Even Chris couldn’t have forecast what would happen next and it is far from pretty.
With music by Michael Gore, lyrics by Dean Pitchford and book by Lawrence D. Cohen, Carrie: The Musical opened on Broadway in 1988. In Patrick School of the Arts’ production, Aijah Glenn as Carrie White and Keely Corcoran as her mother Margaret are powerful and melodic. Strong and compelling individually, their duets are stirring.
Rose Grills has a sweet tone as Sue Snell, while there is great sensitivity in Daniel Westein’s vocalisation as her boyfriend, Tommy Ross. Luisa Oro brings bucketloads of attitude to her depiction of Chris Hargensen, while Eliyahu Faraday has fun with his role as her knockabout partner Billy Nolan.
I particularly warmed to Caitlin White’s representation of Miss Gardner, a teacher with strong moral fibre. I thought she did a terrific job. Henry Hasler slips comfortably into the role of fellow teacher Mr Stephens and dons a collar and black gown as Revered Bliss.
With movement an integral component of the work, the piece is superbly choreographed by Michael Ralph. The dance captain Noa Moi and the ensemble are slick. Two large video screens on either side of the stage transport us to different settings throughout the show, as well as setting the mood. It is a most effective device.
Carrie: The Musical would not be as potent as it is without the attention to detail in the sound design by Joshua Daly. Jason Bovaird’s lighting design is well focused. The artistic direction by David Clausen-Wisken and the solid direction by Jan Di Pietro are right on the money. What they have given us is an engaging, entertaining and enthusiastic production, full of merit.
I can’t wait to see some of the names I have mentioned among those I highlight again in major theatrical productions. As I see it, it is only a matter of time. Two hours, including interval, Patrick School of the Arts’ presentation of Carrie: The Musical is on at Chapel Off Chapel until 23rd August. Its next show, Sweeney Todd: The Demon Barber of Fleet Street, will be at the same venue from 13th to 15th November, 2026.
Alex First
Other reviews you might enjoy:
- Evil Dead: The Musical, at Chapel Off Chapel – musical theatre review
- Urinetown: The Musical (Chapel Off Chapel) – theatre review
- The Marvellous Elephant Man: The Musical (Chapel Off Chapel) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.