Carousel barker Billy Bigelow loves Julie Jordan, but can never seem to do right by her. After tragedy strikes, Billy must answer for his behavior, but can a selfish man find it in his heart to be selfless? Carousel’s timeless themes of love and redemption are beautifully framed by some of Rodgers and Hammerstein’s most beloved songs including “If I Loved You” and “You’ll Never Walk Alone.”
After receiving stellar praise for his turn as the title role in Orphèe, acclaimed baritone Matthew Worth returns to tackle another tragic hero, Billy Bigelow, and Director Greg Ganakas re-imagines his celebrated 1996 production.
Act I
The year is 1873, in a small town in Maine. Two friends who work at a nearby mill, Julie Jordan and Carrie Pipperdridge, have gone to the amusement park. Julie catches the eye of the barker for the carousel, Billy Bigelow. Billy has a reputation, but Julie is intrigued. Mrs. Mullin, the owner of the carousel, is extremely jealous. Billy mocks her, and she fires him. At the same time, Julie is approached be her boss at the mill, and when she refuses his offer of a ride home, he fires Julie as well. But despite all this, Julie and Billy still go out.
A month later, and Julie and Billy are married. No one approves of the wedding, and Billy, stressed from being out of work, has become sullen and angry, and violent towards Julie. An old friend, Jigger, tries to talk Billy into helping with a robbery. Mrs. Mullin is also asking Billy to come back to the carousel, but insists that he would have to leave Julie. He is debating, but then Julie tells him that she is pregnant. Going back to the carousel is not an option, but he does feel like he needs to support his family, and so agrees to help Jigger with the robbery.
The town is having a clambake, and everyone is going, including Julie, her friend Carrie and Carrie’s fiancé Enoch. Billy had initially refused, but realizing it would be a good alibi, goes along.
Act II
Julie sees Billy getting ready to leave, and tries to persuade him to stay, and feeling a knife under his coat, knows that something bad is about to happen. The robbery goes terribly wrong – Jigger escapes, but Billy is caught. Not wanting to go to jail, Billy stabs himself with his knife. Julie arrives, but only in time to hold Billy while he dies.
Billy goes up to the gates of heaven, where he meets with The Starkeeper. He tells Billy that he hasn’t done enough good in life to get to go into heaven. But he can redeem himself – he is allowed to go back to Earth for one day and perform a good deed. On his way down to Earth, Billy steals a star to take with him.
Fifteen years has passed, and Billy is given a glimpse of his daughter, Louise. She is a sad, lonely girl, who has been tormented for being the child of a thief and wife-beater. While her mother, Carrie and Enoch and their children are preparing to go to the high school graduation, Louise talks to Enoch Jr. about wanting to run away and join an acting troupe. Enoch Jr. says that he would stop her by marrying her, but that his father would never approve. They both get angry, and Louise is left alone. Billy appears, claiming to be a friend of her father. He tries to talk to her, and give her the star he stole, but she refuses. Billy loses patience, slaps Louise and runs off. Moments later, Louise tells her mother what has happened – but to Louise, the slap felt like a kiss. Julie knows in her heart that it must have been Billy.
At the graduation, the speaker talks to the graduating class, encouraging them to live their own lives, not thinking of their parents' successes or failures. Invisible, Billy whispers to Louise, encouraging her to reach out, that she doesn't need to be alone, and to believe in herself. Letting Julie know that he loves her, Billy finally gets to go to heaven.
For anyone looking at the history of American musical theater, it would be impossible to ignore Rodgers and Hammerstein. The music of Richard Rodgers (1902–1979) and the lyrics Oscar Hammerstein II (1895–1960) came to define musical theater, creating the template that would shape generations of work to come.
In 1945, they had already gained fame with Oklahoma!, and the audiences were ready for their next big hit. They were presented with something of a challenge – Oklahoma! had come to them originally as a play, Lynn Riggs's Green Grow the Lilacs, performed by the Theater Guild, one of the most influential Broadway stages of the 1920’s. Now, the Guild proposed that they turn their genius on another play—Ferenc Molnár's Liliom, a tale of tragedy and abuse, set in Budapest.
Rogers and Hammerstein saw several problems inherent in the commission, and the fact that this would be the first musical with a tragic plot was only one. They knew that anything they did would be held up next to Oklahoma!, which could only be problematic given that work’s success (Rodgers wrote in his autobiography that media mogul Sam Goldwyn told him after the premiere of Oklahoma! “This is such a wonderful show!...You know what you should do next? Shoot yourself!”). Molnár had already rejected earlier requests to adapt his work, including proposals from Giacomo Puccini and Kurt Weil. And in 1945, setting a play in a place that was in the middle of a global conflict would not be easy.
Molnár was actually won over by seeing a performance of Oklahoma!, and gave permission for the adaptation as long as the same creative team was in place. Braving their fears of not living up to their first collaboration, Rodgers and Hammerstein were left with just the problem of a location. They settled on 19th century New England, with its rough sailors and joyful clambakes, and Carousel began to take shape.
And what a shape it is. Carousel pushed the structural boundaries of musical theater, forgoing a traditional overture for the unmistakable “Carousel Waltz,” which is accompanied by an intricate pantomime, introducing each of the characters and the larger situation, so that by the time the action starts, the audience is already rapt in attention to the love between Julie and Billy. Like Oklahoma!, Carousel seamlessly combined music and speech, song and dance, into a single harmonious work that carried the story, however sad, to its conclusion.
It was the end of Carousel that proved to be the greatest challenge, as that is where Rodgers and Hammerstein departed most distinctly from Molnár’s story. Rodgers talked about the change extensively in an interview with documentarian Arnold Michaelis.
“I didn't want to touch it [Liliom] with the ending that it had...I felt that the ending was destructive and didn't say anything. The man coming back from limbo with the chance to redeem himself and his family, and he hits his kid, and then he goes back to limbo. I thought this was suicide. Not only in the theater, but as a philosophy...I held out for changing the ending. And this was very easy to do. All we had to do was have Liliom say to the child, ‘You have to live with people.’ (This is in the graduation scene.) And the child put her arm around another little girl, and they smiled at each other, and the curtain came down. And here was the philosophy completely changed.”
That final turn is accompanied by a refrain of one of Carousel’s most memorable songs, “You’ll Never Walk Alone,” a tune and a sentiment that has spoken to generations of listeners, from the original audiences, thinking of family and friends fighting a war a continent away, to today.
- Claire Marie Blaustein
Julie Jordan • Patricia Noonan *
Billy Bigelow • Matthew Worth
Carrie Pipperidge • Lora Lee Gayer *
Nettie Fowler • Sherry Boone *
Enoch Snow • Paul Castree *
Jigger Craigin • Sean Cooper
Mrs. Mullin • Colleen Fitzpatrick *
Louise Bigelow • Eloise Kropp *
The Starkeeper / Dr. Seldon • Ronn Carroll *
David Bascombe • Alan Fischer
Enoch Snow Jr. • Travis Waldschmidt *
Police Man • Ken Krantz
Capitan • Jeremiah Johnson
Heavenly Friend • Tom Story
Carnival Boy • Dustin Layton *
CONDUCTOR • Adam Turner
DIRECTOR & CHOREOGRAPHER • Greg Ganakas
ASSOCIATE CHOREOGRAPHER • Sara Hart
SCENIC DESIGNER • Erhard Rom
LIGHTING DESIGNER • Kendall Smith
RESIDENT STAGE MANAGER • Christine Sanzone *
ASSISTANT STAGE MANAGER • Jeffrey Whetstone *
ASSISTANT STAGE DIRECTOR • E. Reed Fisher
Debbi Furman *
Tabb Nance *
Maria Briggs *
Jolina Javier *
Michael Scirrotto *
Eloise Kropp *
Dustin Layton *
Travis Waldschmidt *
* Member of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.
Patricia Noonan is thrilled to be making her VA Opera debut! New York credits include: creating the roles of Sophia in Yeston's Death Takes a Holiday (Roundabout), Elizabeth Bennett in Pride and Prejudice, Betty Gow in Baby Case (both Signature Theater), and Lorelei in Signs of Life, Carousel with the NY Philharmonic (PBS: Live from Lincoln Center), and featured roles in Girl Crazy, Where's Charley, and Merrily We Roll Along (all City Center Encores!). She has starred regionally in Carousel (Julie), Pirates of Penzance (Mabel), Little House in the Prairie (original cast), Camelot (Nimue), How to Succeed… (Rosemary), Ragtime (Evelyn), Man of La Mancha (Antonia), and Secret Garden(Lily).
Matthew Worth “is a shooting star in American opera” (Richmond Times-Dispatch). Notable credits: Father Flynn in Cuomo’s Doubt (Minnesota Opera, world premiere); Tomes in Smetana’s The Kiss (Opera Theatre of St. Louis); Figaro in Il barbiere di Siviglia (New Orleans Opera); Guglielmo in Così fan tutte (Boston Lyric Opera); Tarquinius in The Rape of Lucretia (Opera Memphis); Harlekin in Ariadne auf Naxos (Lyric Opera of Chicago); Valentin in Faust (Santa Fe Opera); Guglielmo in Così fan tutte (Minnesota Opera); title role in Glass’ Orphée (Virginia Opera); Charlie in Three Decembers (Fort Worth Opera); Curly in Oklahoma! (Central City Opera).
Lora Lee is a recent graduate of Carnegie Mellon University and high school graduate of Interlochen Arts Academy. She was recently seen playing Young Sally in Follies on Broadway, at the Kennedy Center and Ahmanson. NY credits: Mable (Pipe Dream) Encores!, Elektra (These Seven Sicknesses) EPBB, Fusima/Chloe (Back to Methusala pt 2) Gingold Theater Group, various readings and workshops. Selected Regional: Rosemary (How to Succeed...), Roxie (Chicago), Mrs.Gottlieb (Dead Man's Cellphone). Lora Lee will be in the film Towheads coming out later this year.
Ms. Boone is thriiled to return to her hometown of Norfolk, Va, debuting with VOA. London: Royal Festival Hall production CARMEN JONES(Cindy Lou), director Jude Kelly. Guest Soloist:Lincoln Center’s Mostly Mozart Festival, The National Symphony Orchestra at The Kennedy Center and The Philadelphia Orchestra with Maestro Robert Kapilow, Toronto Symphony Orchestra, Ottawa Symphony Orchestra,North Carolina Symphony Orchestra, Nashville Symphony. Broadway: LOST IN THE STARS(Irina), JELLY’S LAST JAM (Maman) Gregory Hines, director George C. Wolfe; MARIE CHRISTINE (Marie Christine), director Graciela Daniele; MASTER CLASS (Sharon) Dixie Carter, Kathy Bates, Jessica Lange, Edie Falco, Leslie Uggams, all as Maria Callas, director Leonard Foglia.
Broadway: 0riginal cast member of 9 to 5, Young Frankenstein, High Fidelity, All Shook Up, Saturday Night Fever, Footloose, The Scarlet Pimpernel, and Grease!. Lead vocalist stand-by for Movin’ Out. Off-Broadway, Los Angeles, and Toronto productions of Forever Plaid - L.A. Ovation award, Canada’s Dora award. National tour: Bye Bye Birdie. New York City Opera: The Most Happy Fella. Regional: Frog Kiss at Virginia Stage Company, ... Forum at Williamstown Theatre Festival. Television: Lea Thompson’s brother, Chris Duffy, on Caroline in the City. Paul was featured in The Actors’ Fund concerts of Dreamgirls and Hair and their subsequent Grammy nominated recording.
Has performed on the operatic, concert, and musical theatre stages in works ranging from the Renaissance to the 21st century. He Appeared on Broadway in Riverdance! and in the original cast of Baz Luhrmann’s La bohème.Companies include Opera Carolina, Opera Memphis, Pittsburgh Opera, Toledo Opera, Opera Theatre of Pittsburgh, Opera Columbus, Opera North, Liederkranz Opera, Opera Theatre of Guam, Pittsburgh Civic Light Opera, and the symphony orchestras of Detroit, Pittsburgh, Memphis, Toledo, and Lima.Recent roles include Figaro in Le Nozze di Figaro, Leporello in Don Giovanni, Il Re in Aida, and the Pirate King in Pirates of Penzance.
New York Credits include: Les Troyens (The Met), Merrily We Roll Along, Follies (Broadway, Kennedy Center, Ahmanson Theatre), Bye Bye Birdie, Sunday In The Park With George, Road Show, 110 In The Shade, Mother Courage (with Meryl Streep), Lestat, South Pacific, Mamma Mia (First National as Donna Sheridan), Do-Re-Mi, Strike Up The Band, Call Me Madam, Anyone Can Whistle, Company, Passion, Jerome Robbins’ Broadway, Into The Woods (Original Cast), Cats. Numerous leading roles in regional theatre. Concerts and Recordings: Four at Carnegie Hall, Three at Encores (City Center), and many more. Much TV/Film/Soaps/PBS.
Eloise Kropp is excited to be making her Virginia Opera debut. Previous credits include Goodspeed Opera House: Carousel (Louise); Music Theatre Wichita: Gypsy (Dainty June), Music Man (Zaneeta); Lyric Theatre of Oklahoma: Hairspray (Amber), Music Man (Zaneeta), Xanadu (Erato). Much love and thanks to my family, ARR, JBR, CGF Talent, Parker, and Peggy.
Ronn Carroll was last on Broadway in the Trevor Nunn revival of Oklahoma! followed by the Lincoln Center preier of A Man of No Importance. Among is 20 Broadway credits are How to Succeed with Matthew Broderick, Gypsy with Tyne Daley, The Rink, Bad Habits, On Golden Pond, (original production) Steel Pier, Man of La Mancha, Mystero of Edwin Drood, Crazy For You, Peter Pan, and Promises Promises! (London, New York) as well as revivals of Carousel, Wonderful Town, Front Page, and Annie Get Your Gun, (Ethel Merman in '66 and Bernadette Peter '99).
Returns to Virginia Opera having previously appeared in productions of Tosca, Le Nozze di Figaro, Andrea Chenier, Susannah, La Boheme, La Traviata, Turandot, and Die Zauberflote. He has performed with San Francisco Opera, Dallas Opera, San Diego Opera, as well as many regional companies. A native of New York City, he began singing at age six with the Metropolitan Opera and New York City Opera Children’s Choruses. He was Assistant Conductor of Susannah, and Pirates of Penzance at Virginia Opera, and just returned from directing The Ballad of Baby Doe at Intermountain Opera in Montana. Since 1994 he has been the Vocal Music Department Chair at The Governor’s School for the Arts in Norfolk, training young singers in opera and art song.
Travis Waldschmidt just recently finished playing Enoch Snow Jr. in Carousel at the Goodspeed Opera House. He has toured with the shows: 9 to 5: The Musical, West Side Story and Disney’s High School Musical. His regional credits include: High School Musical 2, A Chorus Line, and Bye Bye Birdie.His Film/TV credits include: Frances Ha, Twister, and Festival. He holds a B.F.A. in Dance Performance from Southern Methodist University.
Texan native Jeremiah Johnson is excited to begin his first year as an Emerging Artist with Virgina Opera. Mr. Johnson will be covering roles all season including Zurga in Les Pecheurs de Perles, Falke in Die Fledermaus, Stanley in A Streetcar Named Desire, and Il Conte in Le nozze di Figaro. He has performed roles with Utah Festival Opera, Opera Memphis, Mississippi Opera, and Des Moines Metro Opera. Mr. Johnson’s past roles include John Proctor in The Crucible, Belcore in Elixir of Love, and Enrico in Lucia di Lammermoor.
Tom is thrilled to be working with Virginia Opera again, after many years. Credits include: Starkeeper in Virginia Opera’s 1996 production of Carousel, Doolittle in My Fair Lady, Arvide Abernathy in Guys and Dolls, Otto Frank in The Diary of Anne Frank, and Benjamin Franklin in 1776. The Virginia native has spent many years performing in British Comedies, and is thrilled to be working with Virginia Opera again. “It’s a delight to do such a great musical again, and with a director that is such a joy to work with!”
Dustin Layton, a Mississippi native, began his training at age 4. After attending summer dance programs on full scholarship to School of American Ballet and Boston Ballet, he joined the Boston Ballet as a trainee. One year later, he joined North Carolina Dance Theatre performing numerous principal roles. In January of 2011, Dustin joined Phantom - LAS VEGAS SPECTACULAR! Upon the shows closing in September of 2012, Dustin had the honor of joining the broadway cast of The Phantom of the Opera. Dustin is thrilled to be joining Virginia Opera for this wonderful production. Proud member Actors Equity Association.
The 2012-13 season marks Adam Turner’s second season as Resident Conductor and Chorus Master of Virginia Opera, with which he made his mainstage conducting debut in March 2012 leading performances of The Mikado. During the 2011-12 season, Mr. Turner appeared as Guest Chorus Master for Candide with Portland Opera and returned as Associate Conductor for a second summer with Central City Opera, where he led performances of La bohème and Oklahoma! Previously, he served as Conductor and Coach with Stadttheater Pforzheim in Germany, where he conducted over 30 performances of productions including La bohème, Paganini, Les Misérables, and High Society. Mr. Turner’s past positions include Assistant Conductor with Florida Grand Opera, Syracuse Opera, and Hot Springs Music Festival, Resident Conductor and Chorus Master of the Ash Lawn Opera Festival, and Vocal Coach for Tulsa Opera and Washington National Opera’s Institute for Young Singers. Conducting appearances during the 2012-13 season include productions of Camelot and Carousel with Virginia Opera and Roméo et Juliette with The Catholic University of America. In the summer of 2013, Mr. Turner will join Seattle Opera as Assistant Conductor and Vocal Coach on Wagner’s Ring Cycle.
Award-winning director, choreographer and teacher Greg Ganakas is represented by DGRW Talent Agency, NYC.
A winner of the Connecticut Critics Circle Award for Outstanding Direction of a Musical (Brigadoon), Ganakas’ credits include direction of many musical theatre productions, as well as opera, television and industrials. Credits include collaborations with Disney Live Entertainment and Radio City Music Hall Productions. A committed educator, he has served on the faculty of New York University, where he founded their nationally-renown Music Theatre program. Gankas’ musical theatre directional credits include productions of Caroline, or Change at Studio Theatre in Washington, DC; Ain’t Misbehavin’ at the Dallas Theatre Center; the world premiere of God Lives in Glass at the Provincetown Playhouse in New York City, Double Trouble at Stage One in Wichita; the world premiere of The Times at The Long Wharf, New Haven; Oklahoma! at the Ordway Theatre in St. Paul; several productions at the Goodspeed Opera House in Connecticut (Babes in Arms, George M, The Pajama Game, and Brigadoon. A Funny Thing Happened on the Way to the Forum (Dean Goodman Award for Outstanding Production) at the American Music Theatre of San Jose; the world premiere of White Lies at the American Stage Company in New Jersey; the National Tour Revival of the musical Seven Brides for Seven Brothers (Winner of the 2005 Connecticut Critics Circle Award for Best Musical); and numerous productions at the North Shore Music Theatre in Beverly, Massachusetts. His acclaimed work on the long-running, award-winning production of A Christmas Carol at North Shore Music Theatre earned the honor of Best Production of the Season by The Boston Globe, as well as the Moss Hart Awards for Best Direction and Best Production of the Year. His array of work in opera and concerts includes his direciton of “An Evening of Gilbert and Sullivan” with the Boston Pops and Beverly Sills, which was aired on PBS’ Great Performances series. He has also directed productions for the Minnesota Opera, Opera Omaha (including their 2001 “All-American” Gala Concert), Glimmerglass Opera and Michigan Opera Theare. Ganakas served as Artistic Director for six years of the John Harms Center for the Performing Arts in Englewood, New Jersey. Throughout his career, he has worked with numerous stars. He is especially proud of his twelve-year association with New York University, where he founded the Music Theatre Program in the Steinhardt School of Education. His guidance and expertise helped make it one of the highest-regarded programs for musical theatre training in the country. Throughout his tenure, he mentored countless young artists, who have gone on to successful careers in the theatre and have made award-winning contributions to the performing arts. Originally from East Lansing, Michigan, Greg Ganakas resides in New York City.
Sara graduated from New York University with a Bachelors in Music and continued her career in NYC for several years. She is a proud member of Actors Equity and last performed at the Goodspeed Opera House in East Haddam, CT, where she was the assistant director as well as a member of the ensemble in High Button Shoes. Other regional performing credits include: Seven Brides for Seven Brothers (assistant director, dance captain, Martha) at Goodspeed, The Wizard of Oz (assistant dir., dance capt., and Ensemble at North Carolina Theatre, and Mame (Ensemble) at Northshore Music Theatre. Sara has also built a career as a regional director/choreographer. Credits include How to Succeed in Business w/o Really Trying (assistant director) at Goodspeed, Ain’t Misbehavin’ (assistant dir./choreographer) at Dallas Theatre Center and Cape Playhouse, Pirates of Penzance and Barber of Seville (assistant dir./chor.) at Virginia Opera, and Off Broadway’s Great American Trailerpark Musical workshop (assistant chor.) in NYC. Sara also served as assistant choreographer for Ringley Bros. and Barnum & Bailey’s Greatest Show on Earth in 2006. Sara is the Artistic Director at Metropolitan Fine Arts Center where she has directed and choreographed the following shows: Wizard of Oz, Annie, Beauty & the Beast, Grease, and Hook.
Erhard Rom has designed settings for nearly 200 productions including nine world premieres. Several of his designs have been featured in the Prague Quadrennial exhibition. His work has been seen at San Francisco Opera, Vancouver Opera, Seattle Opera, The Glimmerglass Festival, Opera Theatre of Saint Louis, Minnesota Opera, Boston Lyric Opera, Florida Grand Opera, Opera Colorado, Opéra de Montréal, Wolf Trap Opera, Syracuse Stage, Geva Theatre, Indiana Repertory Theatre, Folger Shakespeare Theatre, Shakespeare Santa Cruz, Merrimack Repertory Theatre and Woolly Mammoth Theatre in Washington, D.C. He has collaborated with leading directors including Francesca Zambello, Nicholas Muni and Colin Graham. He lives in the New York City area and teaches design at Montclair State University.
Mr. Smith has been working professionally for the past 27 years both as a designer for the stage and as a consultant for numerous theatre projects. Mr. Smith has designed for concerts, dance, musicals and opera throughout his career. He lit the U.S. premier opera performance of Andrea Bocelli and has worked with Luciano Pavarotti, Denyce Graves and Ruth Ann Swenson. As the Resident Lighting Designer for Michigan Opera since 1989 he has lit over 65 productions. Regional Opera companies include Florida Grand Opera, Virginia Opera, San Diego Opera and Lyric Opera of Kansas City. He has assisted on Broadway with Tharon Musser and Marilyn Rennagel. His work has been seen at many regional theatres including Oregon Shakespeare, Indiana Repertory, Pioneer Theatre Company and North Shore Music Theatre.
Christine is returning for her third season as Resident Stage Manager. Virginia Opera credits: Aida, Orphée, Cosi fan Tutte, Lucia di Lammermoor, Norma, Daughter of the Regiment, Elixir of Love. She has also worked at Florentine Opera, Glimmerglass Opera, San Diego Opera, Central City Opera, Arizona Opera and LA Opera on new productions of Die Walküre and Siegfried, part of Wagner’s Ring Cycle. She branched out into corporate productions working for Harris Goldman Productions in San Diego. Originally from Phoenix, Arizona, Christine moved from Los Angeles to Norfolk in July 2010 and is pleased to call Virginia “home.”
Jeffrey comes to Virginia from the San Francisco Bay Area where he serves on the faculty of Santa Rosa Junior College. He has worked at The Atlanta Opera, Opera Pacific and the Sarasota Opera where he recently called the world premiere of Little Nemo in Slumberland. In addition to projects with LA Children’s Chorus, The Santa Fe Opera, The Pacific Chorale and South Coast Repertory, he spent three seasons each as resident stage manager of The Jewish Theatre: San Francisco and Mt. Washington Valley Theatre Company. Jeffrey holds an MFA in Stage Management from University of California, Irvine, and a BA in Theatre & Arts Administration from SUNY Fredonia.
Directing Credits: Madama Butterfly with Minnesota Opera; Tristan und Isolde with Florentine Opera; The Daughter of the Regiment with Todi Music Fest; The Marriage of Figaro with Opera Roanoke; Mozart i Salieri with Virginia Symphony Orchestra Future: Aida at Opera Santa Barbara; Fidelio at Michigan Opera Theatre; Carousel at Virginia Opera.
Virginia Opera: Camelot, Pinocchio. Lincoln Center NY: Cinderella, Merry Widow. Papermill Playhouse: Peter Pan, Gigi, My Fair Lady, Fanny. Sacramento: The Fantasticks. Television: Hope and Faith, Canterbury’s Law, Passions. Film: The Savages. First person inducted into Brown University’s Sports Hall of Fame for gymnastics. Debbi teaches fitness world wide - everything from Aerobics to Aqua Zumba! www.debbifuhrman.com
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Tabb Nance is happy to return to Virginia Opera, for this special production of Carousel. This will be the fourth collaboration for this role variation with Greg Ganakas & Debbi Furman. Previously, he played the role of Gino in Virginia Opera’s Pinocchio. The first production together was A Christmas Carol at North Shore Music Theatre in Massachusetts. Other credits include Camelot, Cinderella, Merry Widow, and La Rondine (NYC Opera), A Chorus Line, 42nd Street, Carousel, West Side Story, Lady in the Dark, and Will Roger’s Follies.
Maria Briggs (Ensemble) is thrilled to be working at Virginia Opera! National tours: Radio City Christmas Spectacular; Regional: The Music Man (Ogunquit), Disney’s Beauty and the Beast, Singin’ in the Rain, Yankee Doodle (Ordway), Carousel (Goodspeed) and Dreamgirls. Concert Dance: Continental Ballet. Recent graduate from AMDA and The New School (BFA). Much love to those supporting me through this amazing journey and many thanks to my family, Bloc, and Paul Hardt.
Jolina Javier is thrilled to join the cast of Carousel! She has performed in The Radio City Christmas Spectacular, Aida (Kansas City Starlight Theatre), Nixon in China (The Metropolitan Opera). Television/Film: Great Performances at the Met, Live in HD: Nixon in China, Katherine Helen Fischer Dance, thisiswater Productions: Infinite and Finite Games, Beyonce: Mrs. Carter Show World Tour film (Ballerina). Jolina holds a BFA in Dance from Purchase College where she was the recipient of the Ballet Achievement Award. Thank you Mom for all your love and support.
NY: Camelot, Lincoln Center. 1st Natl Tours: A Chorus Line (Larry), West Side Story (Pepe, Bernardo U/S). Regional: On The Town, Paper Mill Playhouse (MC, Rajah Bimmy, Ozzy U/S); Carousel, Goodspeed (Timony); Evita, Maltz Jupiter (Tango Dancer); A Chorus Line, Northern Stage (Paul) and Hilton Head (Mike); CATS, Northern Stage (Alonzo).International: Sailaway, Tokyo Disney Resort (Scotty). Proud Graduate of A.W. Dreyfoos HSOA and New World SOA (BFA Musical Theater). Upcoming: 1st Natl Broadway Tour, Evita. Special Thanks to Paul Hardt. Proud member of Equity.
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