Usher Nonsense #15 – Caroline Or Change
CAROLINE OR CHANGE - Book and Lyrics by Tony Kushner, Music by
Jeanine Tesori, Directed by George C. Wolfe
With: Tonya Pinkins, Reathel Bean, Harrison Chad, Tracy Nicole Chapman,
Chuck Cooper, David Costabile, Veanne Cox, Aisha de Haas, Marcus Carl
Franklin, Marva Hicks, Capathia Jenkins, Larry Keith, Ramona Keller, Alice
Playten, Anika Noni Rose, Leon G. Thomas III, Chandra Wilson
Set: Riccardo Hernandez, Costumes: Paul Tazewell, Lighting: Jules Fisher,
Peggy Eisenhauer, Sound: Jon Weston
The Public Theatre November 16 - Through December 21
First of all this is an operetta, not a musical. Second of all, this is a show that the
audience cheered for the night I was there, but left wondering if this creative team can
make it work. Like Cinderella's sister, Griselda, they have a huge foot to fit into a
normal sized shoe.
In 1963 a maid in Louisiana, Caroline, a black single mother of four, has a mirror put
up to herself and doesn't like what she sees. The white Jewish family she works for
consists of a boy she loves, a father she never sees and a second wife, from New
York City who she can't stand. To teach the child responsibility the stepmother
comes up with a scheme - any change left in the boy's pocket belongs to Caroline.
Caroline's life is reduced to the real turmoil of the possibility of 15 extra cents a week
added to her tiny salary of $30.
Noah, the boy, accepts and even treasures this idea, imagining himself Caroline's
savior. He leaves change in his pockets on purpose and fantasizes about living with
Caroline's family instead of his. When he forgets his grandfather's Hanukkah gift of
$20, however, the lines of love and loyalty are redefined. Change brought about by
change.
The story shows us pieces of life we don't normally dramatize. What happens when
you are living off of nothing and being treated as though you are invisible. Interwoven
with this story are Caroline's children and Noah's grandparents as they are swept into
the tumult of 1964.
All the performances are excellent, some of the music is thrilling; the sets, lights and
costumes are great. But many of the numbers are too long, and the libretto goes on
and on and on. The first act slogs through the opening scenes and picks up speed
slowly, like some great beast rolling down hill. The second act fares better, but not
that much, and the end is ambiguous - like life.
The performers are doing all that they can to move things along. In particular - Tonya
Pinkins as Caroline, Anika Noni Rose as her daughter Emmie, Harrison Chad as Noah
Gellman and Veanne Cox as his mother Rose work their tails off to get us where we
need to go. Now they need a little help from Kushman, Tesori and Wolfe. Nip and
tuck, and nip and tuck, and nip and tuck and cut-cut-cut.
In the mean time - this is, to my way of thinking, the kind of story telling and risk
taking that makes theatre worth leaving home for.
 |
| |
 |
| |
 |
| |
 |