Alfie Boe and Katherine Jenkins star in Lonny Price’s semi-staged production of Rodger and Hammerstein’s classic musical. But can it win over the critics? 


The Stage: ***  “over 100 visible participants, making it without question the biggest show in town. On the other hand, this is also the kind of old-fashioned revival you luckily don’t see much of anymore.”

WhatsOnStage: **** “mostly, like the best types of fairground rides, this does not disappoint.”

The Guardian: ** “A 40-piece orchestra and chorus put swelling sound under the action. But not enough to make most of the dance sequences look other than, well, routines.”

Broadway World: *** “This show would have been better presented as either a concert or fully staged version, as in its current model, it doesn’t quite fulfil either brief.”

The Telegraph: **** “The opening sequence is a mess, the dancing underwhelming and spectacle in short supply, but fans of Boe and Jenkins won’t come way feeling short-changed.”

London *** “There’s no question that the musical qualities in this show are exemplary with a full-blooded and even fuller-bodied orchestra of 40.”

Evening Standard: *** “Josh Rhodes’s choreography is sharp, the chorus relishes the music’s sophistication and bright support comes from Alex Young and Derek Hagen, with Gavin Spokes especially good as Enoch Snow.”

Time Out: *** “it is held back from collapse by the tremendous music and singing, even if the lack of acting chops noticeably sells short its most iconic number, ‘You’ll Never Walk Alone’, a song that surely requires emotional weight more than technical proficiency.”

MusicOMH: **** “Alfie Boe is an excellent Billy, and with his strong tenor delivers a stirring performance of the ‘Soliloquy’.”

The Independent: **** “The almost excruciating loveliness of the score is brilliantly served by David Charles Abell’s symphony-sized orchestra.”

A Younger Theatre: “The role of Billy sits nicely in Boe’s range and he sings richly and warmly.”

The Financial Times: *** “But though musically ravishing, this fairground ride is emotionally underpowered.”

Live ** “despite the big names and the serious price tag, Price’s production never takes off: it just spins and spins, in ever slowing circles, until your patience is worn and you dream of getting home and listening to the original Broadway recording or even the recent Steven Pasquale/Laura Osnes version (which surely must go to Broadway soon).”

Musical Theatre Review: *** “But however free flowing the narrative seems to be – boosted by innovative touches from set designer James Noone (ranging from the colours of a New England spring to the simplicity of heavenly stars), it is hard not to feel that the end result could have been so much more – and so much more moving.”

British Theatre Guide: “The orchestra is a delight, while the leads sing as well as one can hope for. However, while Miss Jenkins proves to be an adept actress, Mr Boe’s Billy Bigelow looks operatic having a preference for posing and growling, with movements that are stiff when they occur at all, while more show of feeling would be welcome.”

London News Online: *** “Worth a listen but not necessarily a look, this version of Carousel would have been better off being performed as just a concert.”

Jonathan Baz Reviews: **** “what truly sets this production of Carousel apart however is the visual (and aural) prominence afforded to the full ENO Orchestra, sat in their raised pit.”

Carousel will play at the London Coliseum until the 13th May 2017. To book tickets visit:, Discount, Last, Theatre Tickets, Love, Theatre and UK