Seeing the ominous, half-destroyed set covering the stage, I sincerely hoped that watching Carrie would be “a night I’d never forget.” I can gladly say that director Emma Lewis delivered a vivid production that will stick in my memory for impressively bringing the large-scale horror of the musical to the ADC stage.

The overwhelming audio of distorted police sirens and school bells which opened the musical, accompanied by a stark white spotlight, signalling the interrogation of Sue (Isobel Guthrie), ramped up the tension for the tragic tale. The opening number ‘In’ then blasted through the auditorium, and the audience were greeted by the powerful harmonies of high school students. While the vocals punched through strongly, the dancing was on the weaker side, with minor choreography and synchronisation slip-ups. However this improved as the performers settled into the show, especially in ‘The World According to Chris’, where the dancing was snappy and sharp.

“It is a testament to the spectacular acting of Eleanor Worth, who played Carrie, that I felt uncomfortably traumatised”

It is a testament to the spectacular acting of Eleanor Worth, who played Carrie, that I felt uncomfortably traumatised at several points – particularly during the period scene in the girl’s changing rooms, where the true brutality of high school girls was displayed. The extreme cruelty, especially from Izzy Lane’s Chris, was the perfect juxtaposition to the innocence that Worth brought out in abundance, and throughout the show this characterisation kept the audience firmly on her side. An interesting dynamic was created between Carrie and her mother Margaret (Jessi Rogers), as their duets together emphasised their love, yet also Margaret’s abusive ways. Every time I felt genuinely touched by their relationship I had to remind myself of its dark reality.

Act One′s musical performances started off slightly shaky and quiet, but as each actor grew into their songs they eventually soared. This confidence was carried over into Act Two, which opened with a bang with my favourite number: ‘A Night We’ll Never Forget’. It was energetic, dynamic, and genuinely hopeful: the audience could almost ignore the impending doom of the finale inching closer. In fact, Act Two lifted a very good first half and created magic on stage – and not just from Carrie’s telekinesis.

“Act Two lifted a very good first half and created magic on stage”

A standout musical performance in my opinion was Rogers’ Margaret White, whose injection of strength and religious frenzy into her voice had the audience on the edge of their seats. Worth brought out a different side to Carrie, as intended, through her singing choices, using a more operatic style for a character who traditionally belts through the show. This was a successful choice, as it expressly emphasised her shy and sweet nature. It would have been nice for her voice to cut through a bit more strongly on pinnacle moments, such as her scream of “that’s not my name” above the vicious chants of “Scary White”, as her softness meant the line was slightly lost among the shouts.

The technical ambition of the show was praiseworthy, and although there were slight hitches with microphones and lighting, overall it worked well to enhance the production. A shout-out is deserved for both blood technician Angus Cha, who delivered a shocking waterfall of blood onto Carrie, drenching her dress and painting her face horrifyingly red, and for costume designer Abi Beton, who had to sew five versions of Carrie’s silky prom dress so that each night allowed a full bloodbath.

“Ambalu-Wedell truly was the star, playing Tommy with such cheekiness and charm”

A commendable decision was made by Lewis to bring out the comedy elements of the show. It was bold to play into the humour and homoerotic undertones in the relationship between ‘jocks’ Tommy Ross, (Chanya Ambalu-Wedell) and George (Lucia Guzy-Kirkden) in a show which blurs the genres of horror and tragedy. Their background acting in the prom scene was especially ingenious, and a welcome relief to the otherwise dark tones. Ambalu-Wedell truly was the star, playing Tommy with such cheekiness and charm, enthralling the audience with their performance. From subtle gestures such as blowing Carrie a kiss during the ‘promposal’ scene and then slapping their hand in mock shame, to awkwardly joking with Carrie at prom, “I better not see you hugging any other guys like that”, Ambalu-Wedell’s performance was inspired. They flawlessly captured the naivety of a popular high school kid, and in contrast to the genuine villains of the show, Tommy came across as a regular awkward teenager caught up in the wrong crowd.

The finale of the show was gut-wrenching, but such an ending is necessary to do this terrifying yet charming production justice. All I have left to say is: life just doesn’t begin until you’re in… the ADC Theatre to watch Carrie.

Carrie is showing at the ADC Theatre from Tuesday 7th to Saturday 11th May 2024.