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Nightmare musical based on the Stephen King classic reboots into a surprising winner

BY MICHAEL SOMMERS

NEWJERSEYNEWSROOM.COM

OFF BROADWAY REVIEW

Exploding over Broadway like the “Hindenburg” back in 1988, “Carrie” was one of the most notorious theatrical disasters of the last 25 years, but now the musical has been newly revamped by its makers and tuned up into a surprisingly entertaining thriller.

Opening on Thursday in the 299-seat intimacy of the Lucille Lortel Theatre, “Carrie” modestly packs musical chills and supernatural thrills in sufficient abundance to satisfy customers seeking such gothic diversions. “Carrie” sure ain’t high art, but she’s plenty of lurid fun.

Most of you already know the tale from the Stephen King novel and subsequent movie so let’s skip those details. This time around, writer Lawrence D. Cohen swiftly frames matters in flashbacks told by the nice-girl-next-door, Sue, and moves events to the present day, complete with i-phones. Interesting to note how the current debate on bullying among teens makes Carrie’s story all the more compelling.

Composer Michael Gore and lyricist Dean Pitchford have revised their score considerably. While the pop sound remains very ‘80s and catchy in the team’s characteristic “Fame” mode, the more theatrical music often soars to the melodramatic demands of the plot, especially in the urgent songs for Carrie’s twisted mama Margaret.

Among the numbers kept from the original, “Unsuspecting Hearts” remains a shining ballad that glows against the darker nature of the score.

The ill-fated original suffered from a grandiose concept, but MCC Theater’s production, which has been fluently directed by Stafford Arima, wisely keeps this high school horror show to minimal yet effectively atmospheric circumstances. While maintaining a high energy level among his 14 performers, Arima and his designers provide a flow of changing moods appropriate to the story’s gathering nightmare.

David Zinn’s deteriorated greyish-white industrial-style setting serves many locations thanks in part to Sven Ortel’s ghostly projections. Together with designers Kevin Adams (lighting) and Jonathan Deans (sound), they slam over a believably fiery finale for that infamous prom night scene.