History Theatre / Carrie

* ElevenOClockNumber:
** “When There’s No One,” Margaret’s heart wrenching ballad about her inner conflict of genuinely loving Carrie and what she imagines is her biblical duty to kill her daughter in older “save” her immortal soul.
** Originally there was a different Eleven O’Clock Number called “Once I Loved a Boy,” where Margaret reflected on her rape and the unrequited love she still harbored for Carrie’s father. It was excised and replaced with “When There’s No One” shortly before opening night in Stratford after Barbara Cook complained Margaret White had virtually no redeeming qualities or humanizing moments at any point in the show.

* LighterAndSofter: To both the novel and film, although it's still not ''light'' by any stretch of the imagination. In addition to keeping the novel's toned down version of Margaret's death (Carrie stops her heart rather than impaling her with knives), the musical also follows the film in keeping Carrie's massacre limited to the school gym.

* MutualKill: Just the novel and the original film, [[spoiler:Margaret and Carrie end up killing each other at the show’s conclusion.]]

** Originally there was a different Eleven O’Clock Number called “Once I Loved a Boy,” where Margaret reflected on her rape and the unrequited love she still harbored for Carrie’s nfather, but it was cut and replaced with “When There’s No One” after Barbara Cook complained Margaret White had virtually no redeeming qualities or humanizing moments at any point in the show.

* AdaptationPersonalityChange: Margaret. While she's still an insane, {{abusive|parents}} [[TheFundamentalist fundamentalist]], she's shown to genuinely love and want what's best for Carrie, and is even self aware of the pain she causes her daughter. Not only that, she feels ''guilty''! While she's definitely a villain, she comes off more as a WellIntentionedExtremist, maybe even an emotionally complex WoobieDestroyerOfWorlds.

However, in TheNewTens, the production became somewhat VindicatedByHistory. Revised by the original librettist, lyricist, and composer, a new production opened Off-Broadway in 2012 and earned positive reviews during an Off West End revival in 2015. It also received a ColbertBump by being adapted as one of ''Series/{{Riverdale}}'''s musicals, in [[Recap/RiverdaleS2E18Chapter31ANightToRemember the second season]].

** “When There’s No One,” Margaret’s heart wrenching ballad about how despite genuinely loving Carrie and fears losing her only daughter, she believes she has no other choice but to kill her in order to save her.
** Originally there was a different Eleven O’Clock Number called “Once I Loved a Boy,” where Margaret reflected on her rape and the unrequited love she still harbored for Carrie’s father, but it was cut and replaced with “When There’s No One” after Barbara Cook complained Margaret White had virtually no redeeming qualities or humanizing moments at any point in the show.

* MyGodWhatHaveIDone: [[LovableAlphaBitch Sue Snell]] feels guilty for humiliating Carrie, alongside the other girls, and apologizes. However, in this version, Carrie rejects the apology, feeling it's not genuine (and in a way, it isn't, as Sue's just trying to relieve her conscience). This forces Sue to realize how horrible she's been to Carrie over the years, and how much pain Carrie's been through as a result, prompting this reaction from Sue, who then becomes TheAtoner. Best expressed in [[https://youtu.be/CqJDu_GlxZc "Once You See"]].

* AdaptationAmalgamation: The musical uses the parts of both [[Film/Carrie1976 the 1976 film]] and [[Literature/{{Carrie}} the novel]] as it wishes. For instance, Margaret dies the same way as her book counterpart (via a stopped heart), it returns the frame story of Sue's interrogation from the book, and Carrie [[DiedInYourArmsTonight dying in Sue's arms]] but takes Sue going to see Tommy and Carrie at the prom from the film and surviving because Miss Gardner threw her out, and the massacre being limited to the school gym rather than destroying the entire town.

* AdaptationalVillainy: Although it may be an ImagineSpot, the Stratford production has Carrie's classmates dancing around her, mocking and even physically pushing her around after Chris and Billy run up to her and pour the pig's blood over her, as opposed to "just" laughing.

** “When There’s No One,” Margaret’s heart wrenching ballad about her love for Carrie and how it contradicts her fanatical beliefs.

--> ''... and as the lights dim to black, boos ring out from the upper balcony while below, others begin an ovation.'' ... ''Carrie has become an instant legend.''
--> ''As the audience files out, some appear thrilled, others appalled; the word most frequently bandied about is "unbelievable". ... The ad copy, which read [[TemptingFate "There's Never Been a Musical Like Her,"]] has proved oddly prophetic.''

* ElevenOclockNumber: “When There’s No One,” Margaret’s heart wrenching ballad about her love for Carrie and how it contradicts her fanatical beliefs.

* AdaptationalNiceGuy: In the revival, Margaret is ''far'' less abusive and cruel than in the original story. It's clear she really ''does'' love Carrie and even apologizes for locking Carrie in the closet at one point. When Carrie complains about her pimples, Margaret [[PetTheDog tells her a nice Bible verse about how inner beauty is the important thing]], as opposed to some nonsense about how [[InsaneTrollLogic "pimples are the Lord's way of chastising you"]]. When she forbids Carrie to go to the prom, it seems to be more out of a (not unreasonable) fear that Carrie will get her heart broken than because she [[FunHatingVillain thinks proms are evil]], as Carrie was conceived after Margaret's prom date raped her. While she still [[spoiler:kills Carrie at the end]], her song makes it clear she does so with a heavy heart and [[IDidWhatIHadToDo is convinced that she had no other choice]].

* EverybodyDiesEnding: [[spoiler: Sue is the only character to survive in this version.]]

* KillEmAll: [[spoiler: Sue is the only character to survive in this version.]]

* SoleSurvivor: [[spoiler: Sue is the only character to survive in this version.]]

* SoleSurvivor: [[spoiler: Sue is the only character to survive in this version.]]

* CastingGag: In the original run, Margaret was played by Creator/BettyBuckley, who'd played Miss Collins in the 1976 film.

* AdaptationNameChange: "Miss Dejardin" in the book becomes "Miss Gardner"[[note]]"Des Jardins" is French for "gardens"[[/note]] in the musical.

** The was originally a different Eleven O’Clock Number called “Once I Loved a Boy,” where Margaret reflected on her rape and the unrequited love she still had for Carrie’s father, but it was cut and replaced with “When There’s No One” after Barbara Cook complained Margaret White had virtually no redeeming qualities or humanizing moments at any point in the show.

** AutoErotica: The main crux of “I Remember How Those Boys Could Dance;” Margaret believes Carrie’s prom date will seduce her in the back of his car.

However, in TheNewTens, the production became somewhat VindicatedByHistory. Revised by the original scriptwriter and composer, a new production opened in 2012 and earned positive reviews during an Off West End revival in 2015. It also received a ColbertBump by being adapted as one of ''Series/{{Riverdale}}'''s musicals, in [[Recap/RiverdaleS2E18Chapter31ANightToRemember the second season]].

* AdaptationInducedPlotHole: The original 1988 production suffered greatly from this because director Terry Hands kept cutting entire dialogue scenes throughout the show's initial tryout in Stratford-Upon-Avon and made further edits during Broadway previews in order to turn ''Carrie'' into a sung-through musical, [[Theatre/LesMiserables which were in vogue]] [[Theatre/ThePhantomOfTheOpera at the time]]. This resulted in huge gaps in the show's narrative, completely obscuring the characters' motivations and Carrie's powers. Instead, musical numbers just piled on top of each other with little connection or reason. A common criticism was that unless the audience had no idea what was happening on stage unless they read the original novel or seen the 1976 film. Most of the cut content was eventually put back into the libretto when the show was revived in 2012.

* AdaptationInducedPlotHole: The original 1988 production suffered greatly from this because director Terry Hands kept cutting entire dialogue scenes throughout the show's initial tryout in Stratford-Upon-Avon and made further edits during Broadway previews in order to turn ''Carrie'' into a sung-through musical, [[Theatre/ThePhantomOfTheOpera which were]] [[Theatre/LesMiserables in vogue at the time]]. This resulted in huge gaps in the show's narrative, completely obscuring the characters' motivations and Carrie's powers. Instead, musical numbers just piled on top of each other with little connection or reason. A common criticism was that unless the audience had no idea what was happening on stage unless they read the original novel or seen the 1976 film. Most of the cut content was eventually put back into the libretto when the show was revived in 2012.

* AdaptationInducedPlotHole: The original 1988 production suffered greatly from this because director Terry Hands kept cutting entire dialogue scenes throughout the show's initial tryout in Stratford-Upon-Avon and made further edits during Broadway previews in order to turn ''Carrie'' into a sung-through musical, [[Theatre/ThePhantomOfTheOpera which were]] [[Theatre/LesMiserables in vogue at the time]]. This resulted in huge gaps in the show's narrative, completely obscuring the characters' motivations and Carrie's powers. Instead, musical numbers just piled on top of each other with little connection or reason. A common criticism was that unless the audience had no idea what was happening on stage unless they read the original novel or seen the 1976 film.