[NEohioPAL] Berko review: CAROLINE OR CHANGE

[Roy Berko]

Dobama &
Karamu unite for a “go see” ‘CAROLINE, OR CHANGE’
 
Roy Berko
 
(Member,
American Theatre Critics Association)
 
--THE TIMES
NEWSPAPERS--
 
Lorain
County Times--Westlaker Times--Lakewood News Times--Olmsted-Fairview Times  
 
 
On the surface,
‘CAROLINE, OR CHANGE,’ now being co-produced by Dobama and Karamu at the Karamu
Performing Arts Center facility, is a glimpse at a personal childhood
experience of author Tony Kushner.
 
The musical
centers on Caroline Thibodeaux, a divorced, middle-aged African-American, $30 a
week maid, who works for a Jewish family in the suburban enclave of Lake
Charles, Louisiana, in 1963.   Caroline is resistant to the sweep of change she sees around her.  She seldom talks, and almost never
smiles, even to her own children or friends.  She appears to be protecting herself from an explosion of
rage or tears. 
The Gellmans' young
son, Noah, who is feeling abandoned due to the death of his mother, the
emotional withdrawal of his father, and the insertion into his life of a
well-meaning but rigid stepmother, is enamored with Caroline, even though she
doesn’t reciprocate.  In order to
teach Noah responsibility, his stepmother tells Caroline that she should keep
the change Noah carelessly leaves in the pockets of his clothes which are given
to Caroline to wash. Caroline is loathe to take money from the child, but her
own children desperately need food and clothing.  The status quo goes awry over a $20 bill, which Noah
received as a Hanukah present and leaves in his pants pocket, causing a rift
between Caroline and the Gellmans.  But, as with all aspects of this well-crafted script, that’s only the
obvious reason.
 
The play’s title has at
least a four-pronged implication.  The obvious is the change that Noah leaves in his pockets and its ramifications.  What should be done with that
change?  Second, America in the
1960s is filled with a change in racial relations and rage over the murder of
JFK and MLK.  How should/does
Caroline react?  She also finds
herself in the middle of conflict among the Gellmans as they try to make
changes in their family dynamics.  What possible change does this mean for Caroline?  And, there are the changes she faces as
her daughter takes stands that challenge the patterns of the past forcing
Caroline to decide how to manage not only the changes in own her life but those
of her family.
 
In 2003 the off-Broadway
production of ‘CAROLINE, OR CHANGED’ opened. Due to its success it was moved to
Broadway, where it had a disappointingly  short 136 performance run, but still was nominated for 6 Tony Awards.
 
The script, like
all of Kushner’s works, such as ‘ANGELS IN AMERICA’ and ‘HOMEBODY/KABUL,’is thought provoking and has strong social and
political messages.  Jeanine
Tesori's score is melodic, vibrant and ranges from neo-operatic to R & B to
Klezmer.  It is very unlike her
‘THOROUGHLY MODERN MILLIE’ score.
 
The Dobama/Karamu
production, under the direction of Sarah May, is often compelling, and always
interesting.  May understands that
the underbelly of the script is the angst of the leading characters and has
conveyed this to her cast.   This script is a very difficult undertaking and May did a masterful job
of guiding the production.
 
Sheffia Randall Dooley is
compelling as Caroline.  She has a
fine voice, wraps herself into the role and lives the part.  She is Caroline!  Her underlying rage and sadness are
always present on her face, in her body, and portrayed by her voice.  Bravo!
 
Christian Flaherty’s Noah
is a bundle of internal chaos.  Noah is a sad little marionette whose strings often just don’t work
right.  Flaherty’s plaintive
singing voice and nerdy movements all are character right.  
 
Katherine DeBoer  is quite acceptable in her portrayal of
Rose, Noah’s stepmother. The rest of the members of the Gellman family don’t
fair as well as there is a surface level quality to their performances.
 
In supporting roles,
talented Aric Generette Floyd lights up the stage as Jackie, one of Caroline’s
children.  His real-life sister
Alexis sings well and makes Emmie, Caroline’s daughter, into an authentic
person.  
 
Colleen Longshaw gives a
fine performance as Caroline’s friend Dotty.
 
The musical supporting
cast are all excellent, especially Rebeca Morris as The Moon and Ayeshah
Douglas as the Washing Machine.
 
Musical Director Ed
Ridley and his band are wonderful…underscoring rather than over powering the
singing and playing the ever-changing musical genres with ease.
 
Richard H. Morris Jr. has
designed a functional set which doesn’t get in the way  of the action.
 
CAPSULE JUDGEMENT: ‘CAROLINE, OR CHANGE’ is not a show
that will appeal to everyone as it is not an escapist  musical with a happy ending.  However, it is a must-go-to for anyone interested in the
theatre and seeing a well-honed production.  Thanks to Karamu and Dobama for giving Clevelanders a chance
to experience CAROLINE, OR CHANGE.
 
For tickets
call 216-932-3396 or 216-795-7007 or go on-line to www.ticketleap.com or ww.karamu.com.
 A free, enclosed, guarded parking facility is provided. 

 Roy Berko's blog, which contains theatre and dance reviews from 2001 through 2008, as well as his consulting and publications information, can be found at http://royberko.info

His reviews can also be found on www.coolcleveland.com and NeOHIOpal (to subscribe visit http://mailman.listserve.com/listmanager/listinfo/neohiopal.)