Triangle Review
By Martha Keravuori and Chuck Galle
February 26, 2014
"Caroline, or Change" Is a Very Complicated Show
The current Raleigh Little Theatre production of Tony Kushner's play, Caroline, or Change, with music by Jeanine Tesori is more appropriately called an opera. It is operatic in form, the music is operatically complex, and all dialogue is sung. It is very difficult to follow, owing somewhat to mixtures of blues, klezmer, and pop musical genres and, perhaps, to enunciation. Often, duets and trios lose their meaning with different words clashing and blending into unintelligible sounds. These essentially are problems with the script. Despite these small drawbacks, this is a powerful and provocative show, well worth the price of admission.
The story is about a black maid in a Prince Charles, Louisiana, Jewish household in the winter of 1963. Obviously, there are political, racial, and sociological issues to be dealt with, which may not even yet be resolved. Inexplicably, some of the characters are anthropomorphic fantasies: a radio, represented by a Supremes-like trio; a washing machine, represented by a blue-gowned vocalist; the dryer, represented by a dancing dandy; and the moon, represented by a coloratura soprano in white. The word "change" is imbued with several layers of meanings in this show; first, the change (coins) the boy in the household leaves in his clothing when it's ready to be washed, and then the changes the maid's daughter wishes for as a young black girl of heightened racial awareness, and then the changes represented by the Southern sit-ins which inspire her, and not least by any means, the changes in society and the world implicit in the assassination of President Kennedy.
Caroline struggles with being a divorced woman with three children on small pay during a period of radical social upheaval. The family she works for consists of Stuart Gellman, who avoids life by attempting to learn the clarinet; Rose Stopnick Gellman, who recently became stepmother to Stuart's 10-year-old son, Noah; and Stuart's parents.
This ensemble piece, under the accomplished guidance of director Karen Dacons-Brock magnificently overcomes the inadequacies of the script. But nonetheless this cast performs their hearts out and the show is worthy of large attendance. Caroline Thibodeaux is played by Laura Deneen Tatum, with intensity and strength, her powerful voice carrying a gamut of emotions. Arel Marsh takes the role of young Noah Gellman, and performs admirably, singing with a sure and solid voice, and bringing sympathy and caring to the part.
Rose Gellman is played by Monique Argent Gannon, whose polished performance is nuanced with concern and severity. Mary Wingate, Nancy Lee Spears, and Faith Jones give a fine rendition of the Dream Girls as The Radio.
Caroline's daughter Emmie is enacted by Brishelle Miller with a charming innocence as well as budding maturity. G. Luke Lair and Ricardo Razon IV are delightful as Emmie's younger brothers. Tina Morris-Anderson brings an accomplished range of coloratura vocalism to the role of The Moon, and hers is a virtuoso performance.
The set is a complex three-tiered household, with the washer and dryer in the basement, and stair to another landing and yet another set of rooms where the Gellman family gathers, and the room Stuart spends his time in practicing his clarinet. This is an effective use of space thanks to scenic designer Thomas Mauney.
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