Carousel, the beloved Broadway classic that won two Tony Awards in 2018, is back in the spotlight.
Based on our teams experience, this guide covers what to know before you go, the can’t-miss moments, and a closer look at the theater itself.
Table of contents
About carousel
Before you see carousel
Carousel is a signature work by Rodgers and Hammerstein from Broadway’s so-called Golden Age of the 1940s and 1950s. Created in the early era of modern Broadway, its score and movement lean operatic, and compared with contemporary shows it feels like a fusion of classical ballet and musical theater.
Because much of the music is sung in an operatic style, the English can be harder to catch than usual. If you’re planning to go, it helps to read a short synopsis in advance. See the detail page below.
Key things to watch for
This third Broadway revival adds sweeping classical-ballet language to its 1870s American setting, creating a fresh, striking contrast with earlier versions.
Choreography is by Justin Peck of New York City Ballet, whose work won the 2018 Tony Award for Best Choreography. His synthesis of music, dance, and stage imagery delivers a dynamic yet delicate style you won’t see elsewhere.
Now playing at the Imperial Theatre
Imperial Theatre
Address: 249 W 45th St, New York, NY 10036
For more on the Imperials history and architecture including its run of Les Miserables see the theater page below.
When we arrived, mounted police were stationed out front, a common sight in Manhattan and reassuring for late shows. We briefly considered grabbing a slice of cheesecake at Junior’s nearby, but we headed straight in to avoid being late.
Before you enter
There is a quick bag check at the door; staff use penlights to look inside. Open your bag ahead of time to speed things up. Ticket barcodes are scanned and the printed tickets are returned a nice keepsake.
Inside, chandeliers set a classic tone. There is a single, easy-to-find entrance to the auditorium, so getting to your seat is straightforward.
Our seats this time
If your ticket says RMEZZ C 8:
Row C (third row from the front), seat 8
Seat numbers near the middle are closer to center; higher numbers move toward the aisle. While this is the farthest section from the stage, the Imperials upper levels are steeply raked, so sightlines to the full stage are strong.
Seat tips inside the theater
Front mezzanine is a great pick for carousel
Because many numbers draw on modern ballet vocabulary, large ensemble phrases ripple across the stage in rings and diagonals. From the mezzanine, those patterns read beautifully.
The lifted carriage typical of ballet singers and dancers also plays well to the mezzanine, adding a shared sense of elevation.
Check official carousel merch at intermission
A beer runs about $14 at theater pricing, and it comes in a lidded Carousel souvenir cup you can take home.
Must-see theater details
Don’t miss the 1923 layout and decorative program
Beyond the show, exploring the Imperials interior is a highlight.
Since opening in 1923, the Imperial hasn’t undergone major structural changes, so both exterior and interior retain their original character. As you can see in photos, the seating plan and ornamentation follow the historic design.
You’ll also spot architect Herbert J. Krapps signature Adam style throughout the ceiling and wall treatments, preserved to this day, making it a rare, living slice of Broadway history.
Learn more about the Adam style below.
Click images to enlarge
Post-show impressions
As a pillar of the Broadway repertoire, Carousel continues to draw large, enthusiastic audiences. At the 72nd Tony Awards on June 10, 2018, it won two categories (featured actress in a musical and best choreography) and received eight additional nominations (including revival, lead actor, lead actress, featured actor, featured actress, costume design, lighting design, and orchestrations).
The production’s great strength is the collaboration between classic Broadway storytelling and concert-level dance. From the start, the narrative advances through movement rather than dialogue, and it quickly transports you to 1870s America.
While you see the clean lines and buoyant jump of ballet-trained performers, the casting embraces a range of body types, which makes the big men’s ensemble number mid-show especially thrilling.
The score often feels more operatic than musical-theater. Ringing tenors and glass-shattering sopranos shook the room with sheer power. The crowd the night we attended skewed a bit older, alongside many young performing-arts students. If you love foundational musical theater and the classical tradition, this revival hits the sweet spot.
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