SET PIECES

I disagree very strongly with Jan Breslauer’s article “Not Just Horsing Around” (July 7), which says that the set in “Carousel” is the star. To compare Bob Crowley’s beautifully integrated scenic design to the mega-structures of “Sunset Boulevard,” “Phantom of the Opera” and “Miss Saigon” is to compare Degas to Rubens.

The scenery in “Carousel” is one of the most imaginative, collaborative efforts in contemporary theater. It is not the star, it does not overpower the actors. It enriches and enhances the entire production and allows the audience to participate in the collaboration by filling in the blank spots with their imagination--something that is definitely missing in today’s theater.

Crowley has the correct perspective when he says, “The set is a major character.” He approached the assignment as an artist, not as an attention-grabbing architect.

LARRY BILLMAN

Brea

I was lucky enough to see the Lincoln Center production of the National Theatre’s revival of “Carousel” in 1994. While the sets were outstanding, my most cherished memory was the beautiful, heartbreaking performance of Michael Hayden as Billy Bigelow. Some performances do indeed upstage the sets.

HARMONY JONES

Los Angeles

Breslauer is evidently too young to remember the Golden Age of Broadway theater, when the original “Carousel” touched our hearts because of its charming production that blended lovely settings (Jo Mielziner; how his work sticks in one’s memory) with lovely music and lovely voices. This current tricky production can’t hold a candle to it.

Stage design, in those days, enjoyed a number of other real masters who served their playwrights with creativeness, rather than “steal the scene,” so to speak, which is what’s happening today.

JIM BUCKLEY

Artistic Director

The Pewter Plough Playhouse

Cambria