Written by Amani Rizwan

Thumbnail & Banner Photo by Leah Oake

I don’t know what I was expecting when I offered to interview the cast and crew of the Drama Society’s latest production, Carrie: The Musical. Safe to say, what I encountered certainly didn’t disappoint me. It was about 6:15 PM when Leah Oake, the director, emerged with a camera slung around her neck, and led me into McNally Auditorium where the play was to be held. Little did I know, our entrance into the auditorium would lead not to serious discussions but to an unexpected and delightful detour into what she dubbed a "joke run." As Leah guided me closer to the seating area, the sound of boisterous laughter and melodramatic singing filled the air, growing louder with each step. It was then that I realised we had stumbled into the heart of the most iconic scene of the play—the prom scene. Members of the cast were running about in glittering gowns and sharp suits, fully unaware of my presence. And it was at that moment, that I knew I was in for a treat.

For some context, Carrie, based on Stephen King's novel, unfolds a harrowing tale of a troubled high schooler, Carrie White, who is sheltered by her fanatically religious mother, Margaret. Enduring relentless bullying, Carrie discovers her latent telekinetic powers just as she blossoms within the realms of friendship and love. The story delves into the dynamics of loneliness and cruelty intertwined with compassion and adolescent yearning. Musically, the production has big ballads and ensemble numbers that are quite tricky at times. So when we headed backstage about 15 minutes later for the interview, I couldn’t help but start by asking everyone whether they felt any pressure putting on SMU’s first-ever musical. Almost instantly, there was a resounding “No.” Meagan Sutherland [Norma] and Keira Melanson [Carrie] offered some more insight:

(*Note: This interview has been edited for clarity.)

Keira: There’s stress, but it’s not necessarily stress because it’s the first musical for SMU. It’s just normal stress. And because it’s the first one, we have nothing to compare it to, so we are the start.

Meagan: To be honest, I didn't quite know that it was SMU’s first musical until about halfway through. We just keep going, but that didn't really add stress. It was, again, the stress that comes with acting like memorising your lines, knowing where you have to be, and all that. We’re setting the standard.

This proved to be true, as the musical and vocal performances were nothing short of extraordinary. While contending with the complexity of the musical score, they managed to infuse each note with raw emotion, creating an immersive experience for the audience. This is especially true for Cameron Osgood, who, as Margaret White, effortlessly commanded the stage and embodied the menacing intensity of her character. A special shout-out also goes out to Keira Melanson [Carrie], Maggie deSaulniers [Chris], and Rebecca Sullivan [Mrs Gardener]; their characters demanded immense depth and complexity in their portrayal, which they executed almost flawlessly.

Next, I turned to Leah to ask her all about the directorial choices she made and what made SMU’s production unique.

Amani: Carrie’s has been adapted into various forms, from film to stage. What’s unique about this production, and how does it differentiate from other adaptations while staying true to the essence of King's original story? Were there any specific directorial choices you made?

Leah: My whole vision was kind of obviously about Carrie since she’s the main character. But when really analysing the script of the story itself, it's very centred around Sue, her inner turmoil, and guilt because she was an accomplice, I guess, in Carrie’s downfall. And so, I really wanted it to be more focused on the narrative and how everyone can be a little bit part of the story; I wanted it to be more of a travelling narrative instead of it being, “This is Carrie’s story.” It’s more about the ensemble.

It’s safe to say that Leah’s directing chops brought her vision to life as Mikayla Hanlon’s portrayal of Sue Snell was marked by a quiet but unwavering strength, perfectly balanced with her flawless vocals. Through her performance, she breathed life into Sue, transforming her from a peripheral character into the emotional core of the story that struggled with her genuine desire for redemption and her enduring love for Tommy Ross. The same can be said for the ensemble, as their humour was simple yet effective, and was seamlessly interwoven between the otherwise harsh themes of the musical.

And what truly allowed those themes to shine throughout the production was the skills of the production crew. I spoke to Jay, who was in charge of props, and Ken, who was in charge of cosmetics, about what it was like.

Amani: What challenges did you face in bringing the atmospheric elements of King's world to life on stage, particularly in terms of set design, special effects, and costumes? Especially during that iconic prom scene.

Jay: For the telekinesis, it was mostly Via [Stage Manager]. She came up with the string trick. It's fun though. Because, like, you've got telekinesis and big blood drop scenes, and it seems really complicated. But the fun part of theatre compared to movies is that the audience is farther away, and you can disguise a lot of things. So, for telekinesis, we used clear wire, which was tied around Carrie’s fingers. And I remember people in the audience telling me, “How did you do it?” and I was like, “Could you not tell? You were in the second row!”

Ken: That being said, from a costume perspective, it was terrifying. I was so scared the first time we did the blood drop, because I didn't know if it was going to come out of everything, but it worked perfectly. We wanted to make sure that the blood was washable. So it's corn syrup, cocoa powder, and children's finger paint. It's actually non-toxic. It's safe enough to dump over Carrie’s head and get it all over her. But ideally, you don't want to get in her face so she can sing. Apparently, it does taste pretty good, though.

Regardless of whether anyone ingested the fake blood that night, the prom scene was fantastic and perfectly bloody. Throughout, the intricate attention to detail in the costumes, from the contrast between Carrie and Chris’ clothes to the addition of the ‘SMU Football’ patch onto Tommy’s jacket, enriched the visual narrative. Moreover, the spellbinding red and blue lighting during numerous scenes, like Carrie's powerful reveal during the prom punctuated the musical, amplifying the emotions of both the audience and the characters. All thanks to the geniuses backstage!

I then turned my attention to Alex, one of two of the musical directors, to ask about the musical aspect of the entire production.

Amani: What it was like bringing "Carrie" to the stage musically, considering it’s a pretty demanding role musically. Did you make any changes to the original score?

Alex: It was honestly terrifying, trying to figure out how we would do it. Because we have a large cast and everybody has different vocal skills. We have some people who were in a choir for a few years. We have some people who have professional vocal training, so you have to work with a wide range of talent and skills. When we were initially doing rehearsals, it was a matter of let's make it a bit simpler for some people who don't have as much skill as others. We cut some parts and harmonies, especially since we didn't have as much time as I would have liked. But I think it worked out really well in the end and just again, seeing everybody's growth over time. It's been really nice to see.

Thinking about this while watching the show later truly impressed me as the cast adeptly tackled the demanding vocal score, blending harmonies and powerful solos with ease. From Jacob Noye’s [Tommy] poignant vocals to Kanav Sharma’s [Billy] rugged ones, they all used the music to enhance their characters’ personalities. I’d especially like to note Kiera [Carrie] and Cameron’s [Margaret] vocal performance during “And Eve Was Weak”. Just 20 minutes into the show, they managed to pull out a show stopping number that had the man and his partner next to me audibly gasping.

Lastly, I asked the entire cast what they hoped the audience would take away from their production.

Meagan [Norma]: The best thing that people can take away from the show is to see that actors are having a lot of fun on stage, and are having fun together collaborating. Everyone's collaboration and joy on stage really shows. It's a lot of fun to play with the characters and plotlines. This musical really gives the ensemble a lot of freedom!

Cypress [Freddy]: My parents came to the show last night, and they kept telling me how clearly it seemed like we were all having a good time. I think our friendship was very clear.

Alex [Musical Director]: I loved all the B-plots in the ensemble. It really shows how much fun and how much effort everybody's putting into it; those small details of small character choices that everybody's decided to make.

Ken [Cosmetics]: That SMUDs is capable of anything.

Overall, "Carrie: The Musical" proved to be an extraordinary and unforgettable theatrical experience. From the moment I stepped into the auditorium and found myself amidst the chaos of the "joke run," it was evident that this production would be something special. The dedication and talent of everyone involved, from the cast to the crew, shone through in every aspect of the performance. From the emotive vocals to the compelling character portrayals, each member of the cast played an integral role in creating true magic on stage. The meticulous attention to detail in set design, costumes, and lighting further enhanced the experience for the audience. As the show unfolded, it became clearer and clearer that SMUDs are truly at their strongest when they're together, united in their passion for storytelling and performance. If anything, this production was a testament to the collaborative spirit and unwavering dedication of the entire SMU Drama Society. They’ve given the next musical production team some very big shoes to fill!

Carrie: The Musical — Blood on the Dancefloor

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