Big-a-Low IQ? Carousel's Billy is Too "Pudding-headed" for his Own Bandana (today's MARQUEE)
The Six Dumbest Things the Carnival Barker Ever Said or Did
Shalom, Broadway lovers!
In today’s edition of MARQUEE: The Broadway Maven’s Weekly Blast: an essay about Billy Bigelow from Carousel and his intellectual limitations; a homework video for Monday’s The Sound of Music class, and a Last Blast about Into the Woods.
Premium subscribers also get a Piano Talk about Stephen Sondheim’s last show; a Broadway Blast about Howard Ashman, and another Rebus puzzle.
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ESSAY: What's wrong with Billy Bigelow?
The tragic flaw of Carousel's anti-hero is traditionally considered to be pride — and a violent temper. But much of what gets Billy into trouble is how "pudding-headed" (to use his own term) the carnival barker is. One of the dumbest characters in musical theater, Billy's inability to read people and understand nuance plays a direct role in his ill-timed demise.
Here are six moments in Carousel that reveal Billy's intellectual deficiencies.
• Billy misunderstands Julie. When he loses his job and she asks, "What will you do now, Mr. Bigelow?" Billy responds, "First of all, I'll go get myself a glass of beer." Julie, of course, was inquiring how Billy would make a living, but the barker's imagination doesn't quite stretch that far.
• Billy misunderstands Carrie. When he aggressively asks the young women for money, Carrie begins to cry, which confuses Billy: "You don't need to cry about it. If you ain't got it, you ain't got it." He thinks she's crying for not having enough money to help Billy, not for feeling threatened by him.
• Billy misunderstands Jigger. When Jigger first mentions that Billy committing murder with a knife was part of their scheme, Billy's reaction is not "you want me to murder somebody?" It's "I ain't got a knife." He's so focused on the very short-term (where's his knife coming from?) that he misses the big picture (murdering someone will change his life forever).
• Billy gives Julie a "solid gold plated" ring. If the ring is gold plated, by definition it's not solid gold. Either Billy was deceived at time of purchase, or he doesn't understand how gold works, or he's so desperate to sound impressive that he lies about the nature of the symbol of his nuptials.
• Billy keeps forgetting girls exist. Even after he sings the transformative song "Soliloquy," during which a key moment is when he realizes that the son he was excited to play with could actually be a girl. That very possibility plays a key role in his decision to break the law to attempt to provide for his family. Yet when he's in Heaven and is told that his family is in trouble on Earth, he asks "Is it my boy?" as if he knew for sure the sex of his offspring -- who turned out, of course, to be a girl.
• Steal it or take it. Oscar Hammerstein has suffered quite a bit of criticism for Billy's line from "Soliloquy," "I'll go out and make it or steal it or take it" because "steal" and "take" mean the same thing. The critique is totally misplaced because it's not Hammerstein who doesn't know the identical meaning of the terms; it's Billy. Hammerstein wrote Billy's lyrics to reflect his mental limitations, as Round in Circles author Barry Kester explained to me. In fact, Billy's words in "If I Loved You" are mostly monosyllabic.
Billy Bigelow's downfall isn't just the result of his pride or temper; it's the consequence of a mind that can’t fully grasp the complexity of the world he inhabits. Like a carnival ride spinning endlessly in place, Billy’s thoughts circle the same simple ideas, never breaking free to understand the bigger picture. His inability to connect the dots—whether in understanding Julie’s concerns or comprehending the moral weight of his actions—leaves him trapped in a cycle of poor decisions. In the end, it’s not just that Billy's anger and ego are too large; it’s that his thinking is too small, too confined, to ever allow him to escape his tragic fate.
HOMEWORK: Rodgers & Hammerstein's The Sound of Music is widely regarded as one of the most beloved musicals in Broadway history. With timeless songs like "Do-Re-Mi" and "My Favorite Things," the show has enchanted audiences for decades. The themes of love, family, and resistance against oppression presented in the musical were powerful at the time and continue to resonate today. Here's a 10-minute version, perfect for the upcoming August 26 FREE class on The Sound of Music, which meets at Noon and 7 pm ET. What is the central theme of The Sound of Music? Share your thoughts in the comments.
The Broadway Maven’s class on The Sound of Music will discuss the music and lyrics of this timeless Rodgers and Hammerstein classic, renowned for its rich score and emotionally resonant message. We’ll also hear from music educator Mateo Chavez Lewis with an analysis of some of the music theory behind this compelling musical. This FREE class meets Monday, August 26 at Noon and 7 pm ET.
Stephen Schwartz August continues Tuesday with “Lesser-Known Schwartz.” We’ll be looking at the master composer-lyricist’s work beyond Godspell, Pippin, and Wicked. We’ll cover everything from The Magic Show to The Prince of Egypt and Enchanted. Meets Tuesday, August 27 from Noon to 1 pm ET. $12.
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Note: Links to register for ALL classes are always available at TheBroadwayMaven.com.
• Monday, August 26 Noon and 7 pm ET The Sound of Music class (FREE)
• Tuesday, August 27 Noon ET Lesser-known Schwartz class ($12)
• Monday, September 2 Noon and 7 pm ET Introduction to Jewish Broadway (FREE)
• Tuesday, September 3 Noon ET Sondheim Academy ($36 for the series)
• Monday, September 9 Noon and 7 pm ET Fiddler on the Roof part A (FREE)
• Tuesday, September 10 Noon ET Sondheim Academy ($36 for the series)
• Monday, September 16 Noon and 7 pm ET Fiddler on the Roof part B (FREE)
• Tuesday, September 17 Noon ET Sondheim Academy ($36 for the series)
• Monday, September 23 Noon and 7 pm ET Ragtime and Parade (FREE)
• Tuesday, September 24 Noon ET Sondheim Academy ($36 for the series)
• Monday, September 30 Noon and 7 pm ET Barbra Streisand’s musicals (FREE)
NOTE: As always, ALL-ACCESS Passholders do not have to sign up or pay for anything. Just show up!
LAST BLAST: One of the themes of Into the Woods is not just parenting but fatherhood, specifically. Early in Act Two, the Baker makes clear he doesn't want an active role in raising his son until "he is older." That parallels his own father's abandonment of him. Other father figures are vanishingly absent: Cinderella's father is constantly drunk and Jack's father isn't even in the picture. And we only hear about Little Red's other parent ("Mother said...") So the second act traces the Baker's maturation into a loving father by the end of the show, demonstrating that real fatherhood is achievable, given enough openness and will.
Broadway Maven David Benkof helps students further their appreciation of musical theater through his classes, his YouTube channel, and MARQUEE: The Broadway Maven’s Weekly Blast. Contact him at DavidBenkof@gmail.com.