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A carousel or carrousel (mainly North American English),[1] merry-go-round (international), roundabout (British English),[2] or hurdy-gurdy (an old term in Australian English, in SA)[3] is a type of amusement ride consisting of a rotating circular platform with seats for riders. The "seats" are traditionally in the form of rows of wooden horses or other animals mounted on posts, many of which are moved up and down by gears to simulate galloping, to the accompaniment of looped circus music.

The modern carousel emerged from early jousting traditions in Europe and the Middle East. Knights would gallop in a circle while tossing balls from one to another; an activity that required great skill and horsemanship.[citation needed] This game was introduced to Europe at the time of the Crusades from earlier Byzantine and Arab traditions. The word carousel originated from the Italian Carosella and Spanish Carosella ("little battle", used by crusaders to describe a combat preparation exercise and game played by Turkish and Arabian horsemen in the 12th century).[5] This early device was essentially a cavalry training mechanism; it prepared and strengthened the riders for actual combat as they wielded their swords at the mock enemies.

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By the 17th century, the balls had been dispensed with, and instead, the riders had to spear small rings that were hanging from poles overhead and rip them off. Cavalry spectacles that replaced medieval jousting, such as the ring tilt, were popular in Italy and France. The game began to be played by commoners, and carousels soon sprung up at fairgrounds across Europe. At the Place du Carrousel in Paris, an early make-believe carousel was set up with wooden horses for the children.[6]

Another kind of carousel emerged in the 17th century in Belgium and France to celebrate special events. This was a ceremonial parade of knights and noblemen on horseback around a courtyard, accompanied by tournaments and various equestrian demonstrations and games, including the spearing of cardboard heads of "Moors" and "Saracens". The most famous carousel of this kind was held by Louis XIV in June 1662, in the courtyard of the Tuileries Palace, to celebrate the birth of his son and heir. The site of the event, next to the Louvre, is still known as "the Carrousel".[7]

By the early 18th century carousels were being built and operated at various fairs and gatherings in central Europe and England. Animals and mechanisms would be crafted during the winter months and the family and workers would go touring in their wagon train through the region, operating their large menagerie carousel at various venues. Makers included Heyn in Germany and Bayol in France. These early carousels had no platforms; the animals would hang from chains and fly out from the centrifugal force of the spinning mechanism. They were often powered by animals walking in a circle or people pulling a rope or cranking.

By 1803 John Joseph Merlin had a carousel in his Mechanical Museum in London, where gentry and nobility liked to gather on winter evenings. The horses "floated free over a pole". It was connected to a "big musical instrument that played a fully orchestrated concerto" and from the first note, the carousel would start turning while each horse would make a galloping movement with a visitor riding on its back. Merlin did not patent his inventions and engineers were allowed to come to create their own models of his creations.[8]

Viewed from above, in the United Kingdom, merry-go-rounds, called "gallopers" by the showmen community when populated by model horses, usually turn clockwise (from the outside, animals face to the left), while in North America and Mainland Europe, carousels typically go counterclockwise (animals face to the right).[9]

By the mid-19th century, the platform carousel was developed; the animals and chariots were fixed to a circular floor that would suspend from a centre pole and rotate around. These carousels were called dobbies and were operated manually by the operator or by ponies.

In mid-19th-century England, the carousel became a popular fixture at fairs. The first steam-powered mechanical roundabout, invented by Thomas Bradshaw, appeared at the Pot Market fair in Bolton in about 1861. It was described by a Halifax Courier journalist as "a roundabout of huge proportions, driven by a steam engine which whirled around with such impetuosity, that the wonder is the daring riders are not shot off like cannonball, and driven half into the middle of next month."[10]

Soon afterwards, English engineer Frederick Savage began to branch out of agricultural machinery production into the construction of fairground machines, swiftly becoming the chief innovator in the field. Savage's fairground machinery was exported all over the world.[11] By 1870, he was manufacturing carousels with Velocipedes (an early type of bicycle) and he soon began experimenting with other possibilities, including a roundabout with boats that would pitch and roll on cranks with a circular motion, a ride he called 'Sea-on-Land'.[12]

In the United States, the carousel industry was developed by immigrants, notably Gustav Dentzel of Germany and Charles W.F. Dare from England, from the late 19th century. Several centers and styles for the construction of carousels emerged in the United States:

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnr's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals.

Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey",[42] in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille.[43] It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies.[44]

Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You").

Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival.[57] As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.[59][60] Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel.[59] Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode.[57] Joanna Riding (Julie) and Janie Dee (Carrie) won Olivier Awards for their performances, the production won Best Musical Revival, and Hytner won as director.[61] Patricia Routledge played Nettie.[62] Clive Rowe, as Enoch, was nominated for an Olivier Award.[63] Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad".[59] The production's limited run from December 1992 through March 1993 was a sellout.[64] It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994.[65] 2351a5e196