Caroline, Or Change

By Keith Boykin, in theater
Saturday, July 17 2004, 12:07PM

Caroline, Or Change lives up to its billing as one of the best musicals on Broadway. In the process, it takes us on a trip down memory lane and explores critical issues of race, religion, life, death, family and identity. As the double entendre of a title suggests, Caroline must decide between herself or change.

Set in Louisiana in November and December of 1963, the play shows the interaction between a white Jewish family called the Gellmans and the poor black family of their maid, Caroline Thibodeaux (played brilliantly by Tonya Pinkins). Caroline is the single mother of 4 children while Stuart Gellman is recovering from the death of his wife.

In this clash of cultural and musical worlds, the white characters (the Gellmans) sound very Broadway while the black characters bring a more soulful sound to their singing. Reathel Bean is inspired as Grandpa Gellman. Harrison Chad is annoying as Noah Gellman. Veanne Cox is perfect as the second wife to Stuart Gellman.

Except for Caroline's family, nearly all the black characters play the roles of inanimate objects: the washer, the dryer, the radio, the moon. Chuck Cooper is mesmerizing as the Dryer. Capathia Jenkins brings a sensual interpretation to her role as the Washing Machine. (R&B soloist Ledisi serves as understudy for Capathia Jenkins.) Aisha de Haas is stunning as the Moon. And the three ladies of the radio evoke the look and feel of the Supremes.

Eleven-year-old Marcus Carl Franklin, who plays Caroline's young son Joe, is another rising star with the look of a young Michael Jackson. But Anika Noni Rose steals the show as Caroline's daughter Emmie. Emmie is the Walter Lee Younger of the show, the young black idealist who rejects the timidity of her mother, the proud but old-fashioned negro. It's not clear in the first act, but in the second act young Emmie becomes the star of the show.

Caroline can be appreciated on a superficial entertainment level or on a level with a deeper meaning, but it's not a musical to see if you're not ready to pay attention. If you miss a few lines in a song, you could quickly find yourself scrambling to catch up. And the musical is 98 percent music. There's very little spoken word in the show.

George C. Wolfe's direction keeps the show moving. The music is wonderful. The singing (most of it, at least) is excellent. And Tony Kushner's story is powerful.

Caroline, Or Change is playing at the Eugene O'Neill Theatre at 230 W. 49th Street in New York.

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