DOWNTOWN
NEWS
November
22, 2004
THEATER
REVIEW
by Rob Kendt
CONTRIBUTING
WRITER
Musical
theater's fuel is big, world-stopping emotion: the joy of new love, the pang of
fresh heartbreak, the resilient hope of the cockeyed optimist.
Anger
is a less common shade in the Broadway palette; you'll see the momentary fit of
pique ("I'm Gonna Wash That Man Right Out of My Hair") or paranoia
("Getting Married Today"), a sneer ("Officer Krupke") or a
soul-wrench (Carousel's "Soliloquy"). For sheer existential rage, the
kind of savage breast-beating not even music can calm, only Sweeney Todd and Ragtime's Coalhouse Walker Jr.
come close, and neither reach the point of murderous extremity until fate kicks
them to the curb.
In
the ravishing, and ravaging, new musical Caroline, or Change, at the Ahmanson
Theatre, black maid Caroline Thibodeaux (the incomparable Tonya Pinkins) starts
the show mad, seething in a sweltering Louisiana basement circa 1963. She never
gets over it. Instead, like the washing machine she dutifully loads, Caroline
goes through spin cycles of wrath and irritation. She only comes clean at the
show's heartrending climax, a "Rose's Turn"-style soliloquy in which
she pleads with God not to let her anger make her evil. This is new--a
re-imagining of the musical not in terms of form, which playwright Tony Kushner
and composer Jeanine Tesori play with freely and dexterously, but in terms of
what a musical can contain, how much weight it can bear.
In telling the autobiographical story of a young Jewish
boy, Noah Gellman (Sy Adamowsky, who alternates with Ben Platt), who learns a
complicated lesson in class, race and economic oppression from Caroline, his
family's bitter domestic, Kushner manages an astonishing feat of heartfelt
hindsight. He sets the ebullient, transgressive wonder of childhood curiosity
on a collision course with some hard-edged adult realities and doesn't flinch
from the inevitable crash, or try to tidy up the wreckage.
The show's final hopeful notes are tenuous indeed: Noah is
too young to understand what his confrontation with Caroline might mean, but we
leave knowing that some kind of understanding (or at least a great musical) is
in his future, just as we know that Caroline's three children, particularly the
proud Emmie (Anika Noni Rose), can only hold their heads high because they've
rejected their mother's corrosive defeatism.
As
terrible as a load-bearing musical may sound--isn't that what opera's for?--the
great news about Caroline, or Change is that it's a full-service entertainment.
Tesori's restless, accomplished score is an able partner in the storytelling
and characterization: Caroline has her own strange, gripping blues idiom, which
she plays off a gallery of glittering personifications of her washer (Capathia
Jenkins), dryer (Chuck Cooper) and radio (the shimmering girl group of Tracy
Nicole Chapman, Marva Hicks, and Kenna Ramsey). Her kids (Rose, Leon G. Thomas
III and Corwin Tuggles) sing infectious schoolyard-rhyme pop that's a cousin to
Noah's tuneful, openhearted parlando. Noah's distant father (David Costabile)
sings in plaintive tones that echo his clarinet playing, while his tetchy
stepmom (Veanne Cox) has a steely, sunny tone belied by her music's awkward
dissonance.
There's
also a priceless, hora-infused Chanukah scene with Noah's grandparents (Larry
Keith, Alice Playten, Reathel Bean) that encapsulates mid-century Jewish
Americana with the sort of wicked but warm-hearted humor only an insider could
pull off.
Riccardo Hernandez's simple, shape-shifting set and the
often stark lighting by Jules Fisher and Peggy Eisenhauer have the right rough
magic for the musical's free, unbounded mix of the real and the dreamlike. Not
everything in director George C. Wolfe's production works so well: While I
liked the conceit of the personified appliances, and a haunting, death-like
city bus played by Cooper, the introduction of a motherly, benedictory moon
(Aisha de Haas) feels a misstep into generic symbolism. Additionally, a few of
Kushner's otherwise mostly deft lyrics veer into forced-rhyme doggerel.
But
there are few such bum notes in this bittersweet Caroline. Steered by the
unblinking Pinkins, this is a rare Broadway vehicle indeed: a musical with
genuine tragic dimensions and a catchy heartbeat.
Caroline, or Change plays through Dec. 26 at the Ahmanson
Theatre, 135 N. Grand Ave., (213) 628-2772 or taperahmanson.com.