Phillyist Reviews... Caroline, or Change

I have a serious literary crush on Tony Kushner. Blame Angels in America (yeah, both parts). So naturally, when I heard a few years ago that Tony Kushner had collaborated with composer Jeanine Tesori on a musical, I was intrigued. But I didn't catch it on Broadway, and then... well, embarrassingly enough, I just kind of forgot about the play until the Arden announced it as part of its 2006-2007 season. But then my excitement at the combination of two of my favorite things on stage—Kushner and musical theatre—returned, and I made sure that I'd get to see Caroline, or Change come hell or high water.

I'm pleased to say that the Arden's production of the play didn't disappoint. Didn't disappoint me, at least—but if you go to the Arden looking for your typical musical comedy, well, then, color you disappointed. There aren't really standalone songs in the show: it's through-composed (meaning that even the dialogue is sung, for the most part) and distinctly un-hummable, except for in those few songs that briefly borrow the melodies of familiar holiday tunes. Of course, if you don't need your musical theatre to be musical comedy, you're golden.

Caroline is set in Louisiana in November and December of 1963: a decidedly turbulent time in the south. JFK was assassinated, MLK Jr. was leading marches. "Civil rights" was an expression people were just beginning to hear. And Tony Kushner, the son of two Jewish musicians, was growing up as a typical member of Louisiana's middle class, complete with black housekeeper. That's the basic premise of the show: it's semi-autobiographical and certainly historically relevant.

The other thing it is is exceptionally powerful, due to a phenomenal cast and great direction by former Phillyist interview, and current Arden Artistic Director, Terrence J. Nolen. The cast, led by Joliet F. Harris as the title character, deals excellently with the challenges of singing when it would be more natural to speak, as well as the challenges of performing on the beautiful James Kronzer-designed octagonal-shaped thrust stage: challenges including, but not limited to, a couple of perilous-looking drops, and Justin Townsend's lighting plot which meant that, at any given time, a good portion of the audience was illuminated as well as the performers. Such lighting is unconventional and can prove distracting to actors—and did prove distracting to the audience at times, but the strong performances onstage ensured that the audience's attention was always returned to the action.

Aside from Ms. Harris's phenomenal performance of Caroline (her final song brought the house to tears and garnered show-stopping applause), there were truly standout performances by Elyse McKay Taylor (a University of the Arts senior who certainly has a long career ahead of her) as Caroline's daughter Emmie, Jay Pierce as the devil-like Dryer and the mournful Bus (trust me on the Bus, especially—Pierce's voice is so sad and so deep that it's impossible not to feel moved), Adé Laoye as the always-cheerful Washing Machine, Thursday Farrar as the impeccably-voiced Moon, and Griffin Back as Noah Gellman, the Kushner-like third grader who likes to spend time with Caroline in the basement. (Back can't be much older than the character he plays, which makes his mature vocal performance especially impressive.) Tallia Brinson, Danielle Herbert, and Marsha Lawson also shine as the Radio, with Supremes-like harmonies and alternating lead vocals. The remaining members of the cast were also excellent, but unfortunately, in a musical of the nature of Caroline, the majority of their performances were more speak-singy than actually musical, and it's hard to identify anything beyond strong character acting. I will say, however, and quite readily, that each of these actors seemed ultimately irreplaceable. Even when things were at their least melodic, musically, a certain harmony existed onstage that, quite simply, made things work.

Caroline, or Change is definitely the best show I've seen at the Arden this season, and one of the better ones I've seen across the city. I have an inside tip that the whole run is nearly sold out, and deservedly so. I can't recommend strongly enough, then, that you get your tickets before it's too late.

Joliet F. Harris stars as Caroline Thibodeaux, Thursday Farrar as The Moon and Kelly J. Rucker as Dotty Moffett in Arden Theatre Company’s Philadelphia premiere production of Caroline, or Change. Photo by Mark Garvin.