Marking Producing Artistic Director Kevin “Blax” Burroughs’ Last Production at Oceanside Theatre Company
Carrie, brought to life by Stephen King in 1974, is a story I had never consumed in any format. The work itself is also a story of resilience. King wrote it while struggling as an English teacher and threw the first drafts in the trash out of frustration; over its 50 years, Carrie has morphed into films, musical theatre, and TV, with a debut on Prime this October.
The musical premiere was twenty years after the novel, conceived by Lawrence D. Cohen, with music by Michael Gore and lyrics by Dean Pitchford. Producing artistic director Kevin “Blax” Burroughs brought it to Oceanside Theatre Company in a vibrant production, where he also directed, lit, and choreographed.
Set in a highschool, Carrie White (Sophia LaRosh) is a shy student sheltered by her mother, Margaret (Sandy Campbell) an intense catholic woman who within her fanaticism has practically everything pinned as a sin. Carrie gets mocked by her classmates after gym class due to an incident with her period. The popular girls in school Sue Snell (Adelaida Maria Martinez) and Chris Hargensen (Mikaela Holmes) are part of the Carrie bullying but Sue starts to understand that Carrie is truly sheltered and is just beginning to experience high school life. Chris will not have it. Prom is around the corner, and Sue has a plan to make everything better. A plan that, with all its meanings, backfires and results in tragedy.
Reiko Huffman’s scenic design of the high school shifting to Carrie’s house is practical and believable, with colorful transitions that come organically thanks to Burroughs’s lighting. You know how I feel about transitions, dear reader. Transitions can easily become repetitive, but here the lighting design also included a brief pause that aired a good-looking frame with the actors’ shadows. The contrast between the different colors and the shadows made for easy, non-fatiguing transitions. Tori Jones also contributed props and special effects, while Tyler Tafolla’s projections rounded out the scenes with animated backdrops that included police sirens, fire, and other intensifying effects.
The rest of the cast was made up of Joshua Powers as Tommy Ross, Ryan Dylan Wargnier as Billy Nolan, Autumn Manson as Miss Gardner, Jason Evan Lee as Mr. Stephens, Rosa Sherlinee as Norma, Oliva Barnes as Frieda, Isabella Fernandes as Helen, Ethan Roach as George, Enrique Arana as Stokes, and Cooper Ogden as Freddy, with Naomi Berg and Olivia Yee as swings; the choreography was lively, with greatly marked choreo moves also courtesy of Burroughs and Associate Choreographer Chloe Chenfeld. The vocals are also vibrant and in place thanks to Benjamin Goniea’s musical direction, although I felt the music came through louder than the voices in some songs.
Carrie the musical in general has not been that appreciated musically throughout its iterations, and I did not understand why, as the songs truly convey the stress and frustration amongst other emotions very pertinent to that age; with Carrie’s powers and, putting it all together well, it ends up being a massive whopper.
Vocal highlights for me were the chilling harmonies shared between Carrie, Sue, and Margaret. LaRosh, Campbell, and Martinez’s showcase technical precision and (weirdly) beautifully translate trauma, grief, and religious obsession into pure musical tension where the story finds its soul. I also felt that both LaRosh and Martinez captured that horror/Stepehn King essence in their expressions. Joshua Powers, as Sue’s boyfriend Tommy, was sweet and delivered beautiful renditions in songs like “Dreamer in Disguise” and “You Shine”. Burroughs’ directorial blocking used the house aisles, where actors came in and out with brief interactions with the audience, adding to the already tense atmosphere. The pass to intermission was chef’s kiss, leaving the audience gasping. (Me quedé con el aplauso atorado por el momentum que traía toda la energía). The audience member sitting next to me asked his phone who Carrie was during intermission, with the answer blasting on speaker, and that was its own little moment in the theatrical experience.
Ahora, just like I felt Stephen King captured expressions, Mikaela Holmes and Ryan Dylan really embodied the characters of Chris and Billy, who are the villains, with an intense, toxic, and raw relationship bringing all that energy to the stage; however, their physical relationship was overemphasized at times, with makeout interludes that distracted a bit from the pacing. And believe me, dear reader, I feel like Carrie Ann Inaba in Dancing with the Stars as I write this (IYKYK), but that’s the vibe…
Zoe Trautmann’s costumes were detailed and on point for each character, with that seventies flair that combined leather, denim, and corduroy. Loved the prom dresses, especially Carrie’s, and the question does arise: how does the laundry work for that production? I hope it is easy, because just thinking about it made me stressed. Added note after uploading the review: A comment on the Critics Circle FB page when I shared this review brought to my attention that Naomi Berg is in charge of cleaning it all after each performance. See? This beautiful theatre community coming through. I love when y’all talk to me 🙂
2026 has been a year for our regional theatre between budget cuts, productions that were scheduled but not going to make it, and board drama. Once again, the San Diego theatre community has proven to be kind and mighty. The performance I saw this Friday felt like an industry night, with actors and friends in the audience who visibly came to support. Aside from one actor interrupting a conversation I was having with absolutely no care, that filled my heart. Kevin “Blax” Burroughs, like Carrie, also embodies resilience. From taking on the direction, choreography, and lighting, and ran the show under stressful, precarious circumstances. The cast is also pulling through performance after performance thanks to their love of the craft and the strength of a theatre community.
This production marks Kevin’s last OTC chapter, and with all those accomplishments at such a young age still, I cannot wait to see what is next. In the meantime, show your support for this production as it deserves.
Currently playing until October 31. Industry night is this Monday, October 26.
The Associate Director for this production is Mariana Minger, with Stage Manager Tracie Nunn.
