Carousel in Concert: Full orchestral concert of a historic broadway musical with the Ramsey Theater Company and Orchestra Kentucky at the SKYPAC in Bowling Green, Kentucky

Carousel in Concert – Cast List (SKYPAC)

Guest Conductor – Joseph Trafton

Role - Actor

Billy Bigelow – Jeremy Stolle
Julie Jordan – Elizabeth Welch
Narrator/Starkeeper – Andy Stahl
Carrie Pipperidge – Grace Trenouth
Enoch Snow – Elijah Milburn
Nettie Fowler – Dr. Tiffany Bostic Brown
Dr. Seldon – Ron Trenouth
Jigger Craigin – Jesse McFarland
Mr. Bascombe – Jonathan Vanderpool
Mrs. Mullen – Hannah Vanderpool

Ensemble / Youth Ensemble:

Louise - Kasey Taylor
Enoch Snow Jr. - Xavier Gravil
Young Girl - Amberlin Burgett

Chorus:
Orchestra Kentucky Chorale

As I was walking up College Street to SKYPAC—the Southern Kentucky Performing Arts Center in Bowling Green, Kentucky—I enjoyed the beautiful spring Saturday afternoon, the trees now full, and the people walking toward the theater. It was a common, everyday experience I had in German towns, large and small, for well over 20 years, and I never thought it possible in Bowling Green. It is a scene now happening all across the United States in communities that are supporting the arts in a way that is transforming culture in their towns, so people no longer have to travel hundreds of miles for quality programs. Orchestra Kentucky, and now the Ramsey Theater Company, are engaged in building a solid professional organization that can grow into something truly special as Bowling Green and South Central Kentucky continue to grow. It is an exciting and audacious project, but one well worth doing.

This past Saturday, one of the major Broadway hits of the mid-1940s was presented in concert form. Carousel, a musical by the famed duo Rodgers and Hammerstein, was performed with a full orchestra—as it was originally done—featuring Broadway soloists alongside wonderful local talent. The guest conductor for the evening, Maestro Joseph Trafton, born and raised in Bowling Green and a longtime professional conductor in Europe, led the forces with an encouraging and firm hand.

Usually, conductors stand in front of all performers, but on this evening, the soloists and chorus were positioned in front, with the conductor behind them, facing the orchestra at the back of the stage. This arrangement enhanced the chorus's presence and allowed the soloists to open more directly to the audience. For the conductor, it can be tricky to hold everything together, but on this evening, it worked very well. The orchestra responded to Trafton’s direction with both musicality and attentiveness as the actors presented the piece in front. Trafton's mastery showed through as he formed the music that led to sensitivity in intimate scenes and the necessary drive and momentum for the big musical numbers that are famous on Broadway. It is a rare and special treat to hear this music with full orchestral accompaniment.

This setup requires the performers to be especially precise in their singing without direct visual contact with the conductor. Having performed in this arrangement many times, I can say it is tricky business—but it works well when everyone knows what they are doing. The orchestra was not miked, while the soloists were, and everything could be heard clearly.

Elizabeth Welch, Julie Jordan, sang with a beautiful soprano voice and convincingly portrayed the sweet and vulnerable young woman in search of a husband, even though she claims she isn't. Her partner, Billy Bigelow, sung by Jeremy Stolle, was a strong presence with his pleasant baritone and characteristic machismo for the ruffian. I was thinking the whole time he would make an ideal Gaston in Beauty and the Beast. From the beginning, it was clear that this union would become problematic. The major theme of the evening is the famous "If I loved you" duet, which created one of the highlights of the evening.

The young pair Carrie Pipperidge and Enoch Snow, sung by Grace Trenouth and Elijah Milburn, created a sympathetic and believable young couple. Grace Trenouth sang with a full, even lyric sound. Elijah Milburn's tenor has a nice timbre and handles the piece with ease. They make for a believable and happy couple in contrast to the troubled relationship of Julie and Billy.

"You'll never walk alone", was beautifully sung by Dr. Tiffany Bostic-Brown in the role of Nettie Fowler. Nettie sings this famous song of encouragement to help Julie through the coming difficulties of her life as a single mother in a judgmental society.

Mrs. Mullin, Hannah Vanderpool, played the Carousel owner as one would envision it to be. A strict business person who protects her realm the best way she knows how. Mr. Bascombe, Jonathan Vanderpool, presented the business owner who employed Julie and Grace, with a balance of compassion and principle. Dr. Seldon, Ron Trenouth, was an effective voice of reason that brings a strong message of hope to the scene. The Narrator/Star Keeper, Bowling Green native Andy Stahl, brought understanding to Billy's unfortunate plight by allowing him to make a visit from the afterlife to reconcile with Julie and their daughter.

Kasey Taylor, Louise, was convincing in her passionate portrayal of Julie and Billy's daughter later in life. Xavier Gravil and Amberlin Burgett, Enoch Snow Jr., and a young girl filled their roles nicely.

I was happy to see the choir on the front of the stage, the women's section on the left side of the stage, and the men on the right. This made their contribution much more effective and their participation and great singing were highlights of the evening.

In today’s cynical world, it seems almost foreign to present a piece like Carousel. Simple but powerful feelings are stirred when you experience a duet like “If I Loved You” or the bracing song of hope, “You’ll Never Walk Alone.” It comes from a time when World War II was ending, when the world was trying to find its way back to humanity and to fill the heart with positive emotions. The tragedy within the story gives it drama, and the hope that keeps us alive and moving forward—with a balance of comedy and innocence—is the message of this story. We all experience heartache and joy, and they often exist in the same space and time. “Life is not all beer and skittles” is a famous quote by Mrs. Mullin in her warning to Julie about marrying a man like Billy. But life is also not all “doom and gloom,” and so it is acceptable to laugh and have joy in times of trouble, because it is a way to retain one’s sanity.

In my experience with music of many ages, I know how important it is to present theater from all eras of history. Each work of art, every time period, every genre, has as its backdrop the society of its creation. We travel through time to study the societies of the past, to glean lessons for our lives today, and to experience the qualities of those times. We ask ourselves, “What would I have been like if I had lived then?” What would I have done? What would I have believed in? Who am I today? What do I truly believe in? Are we too jaded to open our hearts to such optimistic feelings? Does the fear of getting hurt prevent us from showing love and experiencing warmth on a human level today? These are the questions that call us to continue performing such great works from the past. They are also what calls us to create new works for the future, so that our world today leaves behind a positive message for generations to come. The hours, days, and years move us relentlessly forward toward a future we are incapable of fully comprehending. To move into that future, we should bring with us all the good there is. We are going to need that positive force much more than we realize today.

After the concert, I stopped by the Lily May Bourbon Company restaurant, right next door on the corner, to check it out as a possible place for socializing after concerts and events at SKYPAC. Speaking with the owner, he said he encourages people to come in after shows and events downtown. One of the things I enjoy most after performances is going out afterward, sitting with friends, talking about the show, and meeting members of the audience. I would like to start a tradition with Musiterania™ to meet after events and create good times together. Music brings people together, and gathering after a performance is a wonderful way to socialize and build community.

At its heart, Musiterania™ is about more than the performance itself—it is about what happens before and after, in the spaces where people gather, reflect, and connect. The arts remind us of who we are, but community reminds us why it matters. If we are to move forward into an uncertain future, it will not be alone. It will be together—through music, conversation, and shared experience—building something meaningful, one evening at a time.