The Voice Who Walked Away
The most significant 'what if' in the history of Carousel involves its 1956 film adaptation, not the original stage show, but the story is too good to ignore. The producers had their Billy Bigelow: Frank Sinatra. Ol' Blue Eyes was at the peak of his Hollywood
power, and he had already recorded the entire score, including the epic "Soliloquy." But when Sinatra arrived on set in Boothbay Harbor, Maine, he discovered the film was being shot in two different formats simultaneously: standard 35mm CinemaScope and a new, experimental 55mm version. Believing this meant he would have to perform every scene twice, Sinatra famously quipped, "You're not getting two Sinatras for the price of one," and walked out. The irony is that engineers soon figured out how to convert the 55mm footage to 35mm, meaning he wouldn't have had to do double the work after all. Another story, shared by co-star Shirley Jones, suggests his then-wife Ava Gardner demanded he join her overseas, adding a layer of personal drama to the professional chaos.
From Understudy to Icon
Sinatra's abrupt departure sent producers scrambling. Their solution was Gordon MacRae, who had just starred opposite Shirley Jones in the film version of Oklahoma! MacRae, suspecting Sinatra might back out, had reportedly been preparing for the role just in case. The casting change created a completely different Billy Bigelow. Where Sinatra's interpretation might have been swaggering and slick, MacRae brought a powerful, earnest baritone that became synonymous with the role. His performance, especially in "Soliloquy," is now considered definitive. For the original 1945 Broadway production, the search for Billy was less about star power and more about finding a voice that could handle Richard Rodgers' demanding score. Rodgers and Hammerstein were intent on casting unknowns. They found their man in John Raitt, whose powerful, operatic voice defined the tragic carousel barker for a generation. Raitt's casting was a risk that paid off, launching him into stardom and setting the template for every Billy Bigelow to come.
Finding the Perfect Julie Jordan
The role of Julie Jordan, the gentle millworker who falls for Billy, was just as critical. For the original 1945 stage production, the creative team was searching country-wide for an actress who could portray a naive 16-year-old while having the maturity and vocal chops for the difficult role. They found her in Jan Clayton, an actress with some minor film credits who was perfect for the part. Clayton's audition so impressed the team that she was sent east immediately to sing for Rodgers and Hammerstein themselves. Her performance was a triumph, and she can be heard on the original cast recording, capturing the vulnerability and strength that made her Julie so memorable. In an interesting twist, Clayton actually left the still-running, successful production of Carousel to star in a 1946 revival of Show Boat, another testament to her demand as a leading lady.
A Legacy Defined by Chance
Casting is often called a kind of alchemy, and Carousel is a perfect example. Had Sinatra played Billy Bigelow in the film, the movie would have felt entirely different—perhaps more of a star vehicle and less of an ensemble piece. His unique, jazzy phrasing would have offered a stark contrast to the more traditional musical theater sound of Gordon MacRae. On stage, the decision to cast the relatively unknown John Raitt and Jan Clayton proved foundational. Instead of relying on established celebrities, Rodgers and Hammerstein trusted the material and the performers, allowing the show itself to be the star. This choice allowed audiences to see the characters first, not the famous actors playing them. The result was a raw, emotionally resonant production that TIME magazine would later call the best musical of the 20th century. It's a powerful reminder that in the world of theater, the right casting isn't just important—it's everything.
