Carrie

Blackout Theatre Company

There’s a particular kind of magic that only community theatre can conjure - the kind that comes from heart, grit, and the collective belief that storytelling matters. Blackout Theatre Company’s production of Carrie captured that magic from its very first crash of thunder and held it right through to the final full stage blackout.

The story of Carrie, I must admit, is an interesting choice for a musical. I’m intrigued by the idea that someone read Stephen King’s novel, or perhaps watched the horror film, and thought to themselves “This needs songs!”. Nevertheless, it is a gift of theatre that not every musical requires cheer and a happy ending. Stories of all kinds need to be told and performers deserve the opportunity to stretch themselves into new realms of human experience, testing their capacity to capture deep emotion and engage with an audience. Under the direction of John Hanna and Blake Williams, the cast of Carrie have achieved just that.

Recognising many of the names in the cast list, I was expecting strong performances and musicality of a high quality, but, even with preexisting high expectations, I was genuinely blown away by the vocal calibre on display. This cast did far more than just “hit the notes”—they filled every phrase with emotional weight. The vocal blend in the ensemble numbers was warm, controlled and full of intention. Musical Directors Lindsay Kaul and Alvin Mak have worked well to harness the talents of both the instrumentalists and vocalists to create a powerful and heart engaging musical journey for the audience.  

Kayla Stevenson delivered a heartbreaking layered performance as Carrie. Her voice captured every fragile tremor of Carrie’s early fear and every soaring swell of her awakening power. Physically, she embodied Carrie’s shrinking shyness early on, then gradually unfurled into something luminous and terrifying.

@Light Up Photography - Maria Gorelik

The role of Margaret is both vocally and emotionally demanding, yet Felicity Amos delivered it with astonishing power and control. Her interpretation of the character was chilling yet deeply human; stern in posture, severe in presence, but never caricatured. “And Eve Was Weak” rang through the space like a judgment; “When There’s No One” was rendered with such aching vocal warmth and tangible emotion that it drew the audience into Margaret’s tormented, desperate world. A powerhouse performance.

Emily McKenzie, as Sue Snell, brought a steady, compassionate centre to the narrative. Her voice carried a crystal-clear sincerity and her storytelling in “Once You See” was heartfelt without ever drifting into melodrama. On stage, she balanced teenage uncertainty with a profound moral awakening, giving the show its guiding conscience. McKenzie was a true standout.

@Light Up Photography - Maria Gorelik

Harry Moorby played Tommy with an effortless charm, giving Tommy a warmth that made Sue’s trust in him utterly believable. Conversely, the role of Chris was deliciously villainous. Jordan Miller performed with razor-sharp energy and confidence. Her vocals were fiery, her physicality bold, and every smirk perfectly placed. She commanded her scenes, reminding us how intoxicating and dangerous high school power can be.

Dylan Boniface as Billy was charismatic chaos incarnate. His comedic timing was immaculate, but he never leaned so far into humour that he undermined the menace beneath the surface. The supporting “teacher” roles were offered with great skill and care. Miss Gardner was portrayed with genuine warmth by Lucy Taylor; her scenes with Carrie were tender, and her rendition of “Unsuspecting Hearts” portrayed a true sense of empathy and compassion. Tristan Foon as Mr Stephens brought a confidence to the stage as the voice of authority.

The ensemble was tight, dynamic, and vocally unified - a true backbone of the production. These performers crafted a believable culture of high school social heirachy, shifting seamlessly from comedic teen antics to the darker, escalating tension of the story. Their harmonies were rich, their choreography sharp, and their energy unwavering. Credit has already been given to the Musical Directors, but the choreography of Jane Houlihan needs also to be recognised for its precision, creativity and narrative power. The impact of an ensemble rests not only in the talent of the individuals cast but in masterful coordination and direction of the production team.

@Light Up Photography - Maria Gorelik

Visually, the Blackout team absolutely outdid themselves. The costumes (Katie Griffiths) were perfect for the era and for the nuances of each character. The set (John Hanna) struck a beautiful balance between simplicity and atmosphere, transforming cleverly and seamlessly from Carrie’s oppressive home life to the chaotic pulse of the High School. And the lighting design and projections … my goodness... I’m struggling for words! The final sequences, in particular, were a triumph of theatrical storytelling. The iconic prom moment (which I won’t spoil for those yet to see it) was executed with such confidence that it earned an audible gasp from the audience. That’s the kind of theatrical punctuation mark every director dreams of landing. Congratulations to the entire production team!

Most importantly, though, was the sense of community. You could feel it in the way the cast supported one another onstage, in the pride radiating from the crew, and in the palpable joy buzzing through the foyer. Productions like this remind me why I champion community theatre: it is a place where stories are shared bravely, where talents are nurtured, and where audiences are reminded that art thrives wherever passion lives.

Blackout Theatre Company proudly presents: Carrie The Musical

Tickets: https://www.trybooking.com/DDJYY?&track=sat

Performance Dates: 21st - 23rd November

Pioneer Theatre, Castle Hill

@Light Up Photography - Maria Gorelik