Review — Carrie: The Musical
By Alex Roy
Carrie is one of my favourite scores in all of musical theatre — my embarrassing introduction to the show being the Riverdale musical episode almost ten years ago. As I entered the Assembly Rooms, I heard excited whispers: people itching to see how “the” scene would be staged, myself among them. Produced by Lottie Roddis (assisted by Zara Khan), Hild Bede Theatre delivered a show which was fiery (or bloody?), dramatic, terrifying, and awe-inspiring, all in one electrifying package.
Based on the cult-classic novel by Stephen King, Carrie: The Musical centres on the titular Carrie White, a socially ostracised teenager whose oppressive home life — governed by her fanatically religious mother — is matched only by the cruelty she faces at school. When her humiliation reaches its breaking point at prom, Carrie’s powers erupt in devastating fashion. It is a story of bullying, repression, and teenage wickedness, accompanied by a gorgeous score that oscillates between intimate balladry and full-throttle ensemble numbers.
The band, under the musical co-direction of Ilan Miller and Katie Masden, were the beating heart of this production
This score was executed effortlessly by the fabulous band, who demonstrated immense versatility in undertaking such a challenging musical landscape. A show which boasts sombre beats, rock-fuelled anger, soaring ballads, and upbeat ensemble numbers demands precision and stamina in equal measure. The band, under the musical co-direction of Ilan Miller and Katie Masden, were the beating heart of this production, driving its narrative momentum and emotional intensity throughout.
Vocally, this cast were exceptional across the board, with a handful of performances lingering with me long after the curtain call. Aaryn Mcdonald-Brown was perfectly cast as Carrie White, portraying her with fragility while simultaneously delivering incredibly strong, controlled vocals. The collective gasp from the audience as she delivered the initial notes of ‘Carrie’, and later the beautifully arranged ‘Unsuspecting Hearts’ — performed alongside Nancy Bescanon’s Miss Gardiner — was enthralling. Opposite Mcdonald-Brown, Molly Winchurst as Margaret White was a formidable presence, commanding in both vocal power and unwavering conviction. Elena Pesciarelli’s Chris was menacingly marvellous, her ‘The World According to Chris’ a particular triumph of character and attitude.
In contrast, the delicacy of Georgia Hitchcock’s Sue Snell was beautiful to witness. Her fragility during the intermittent interrogation scenes — a clear and thoughtful element of the co-directive vision of Amanda Cross-Court and Lauren Williams — was heart-achingly sincere, and her vocals soared. You Shine remains one of my stagey all-time favourites, and Hitchcock did it absolute justice alongside Ollie Painter’s Tommy Ross. Painter’s smooth, assured vocals solidified his performance as one of the standouts of the evening.
‘A Night We’ll Never Forget’ was mesmerising: harmonies lush, tension palpable, and the choreography of Amelie Symmons executed with impressive precision
The ensemble, too, deserve particular praise. ‘A Night We’ll Never Forget’ was mesmerising: harmonies lush, tension palpable, and the choreography of Amelie Symmons executed with impressive precision. Jamie Duncan as George and Anna Pile as Norma were particular standouts, both committing entirely to their characterisation. Indeed, each and every performer deserves immense praise; the performances were stellar across the board.
The direction, helmed by Cross-Court and Williams (assisted by Damien Smith), was assured and clear in its storytelling. Rather than attempting to radically reimagine the piece, the production trusted the material — allowing the relationships, particularly those between Carrie and Margaret, and Sue’s internal conflict, to unfold with emotional clarity. Notably effective was the framing of Sue’s interrogation scenes, which provided structural cohesion to the narrative and heightened the sense of inevitability that looms over the story from its opening moments. The balance between sincerity and spectacle — no easy feat in a show that can so easily tip into melodrama – was handled with impressive control.
Technically, the lighting design by Leyla Aysan Montoya (assisted by Isaac Crowhurst) was one of the production’s strongest assets. From the opening moments, which bathed the ensemble in a foreshadowing crimson hue, to the stark white spotlight that intermittently interjected the narrative to frame Sue’s interrogation, the lighting was both narratively intentional and atmospherically striking. Particularly effective was the employment of lighting cues aligned both rhythmically and lyrically — ‘And Eve Was Weak’ serving as a notable example; the success of this design is testament also to the skilful operation of Julia Panova.
Equally impressive was the set, designed by Libby Simpson with assistant construction by Clem Charles. The design embraced a fairly standard staging, but it was highly effective in locating the narrative. Modular pieces allowed for swift transitions between school and home, with additional ‘prom’ enhancements elevating the latter scenes to greater spectacle. The technical elements that brought the magic of the show to life were seamlessly woven into the fabric of the design, with Tom Haigh’s work as fly operator contributing to this fluidity.
While much of the technical execution was precise, a handful of blips slightly hindered an otherwise seamless production. One notable early scene and set change occurred after the anticipated underscore from the band, momentarily puncturing the pacing and creating a clunky lull. Whether this was due to a lighting delay or another technical miscue was unclear. Similarly, intermittent microphone issues — with some mics delayed in switching on — diluted the impact of certain key musical moments.
That said, it would be remiss not to acknowledge that Carrie is an exceptionally cue-heavy production. The stage management team led with professionalism and control throughout. The mechanics of chaos — particularly in the climactic final sequence — were handled with impressive precision. A show of this scale and intensity could easily descend into technical overwhelm, yet the set-up, co-ordination by SM Leon Ansorg and execution by the rest of the team ensured this was not the case.
Ultimately, this was a production that understood the tonal tightrope Carrie requires one to walk. It presented a sincere, vocally accomplished, and visually cohesive interpretation of an enduring cult favourite; it was a production that proved both thrilling and emotionally resonant in equal measure.
Image: Hild Bede Theatre via @hildbedetheatre on Instagram.
