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Regional Reviews: Phoenix Caroline, or Change
Set in 1963 Louisiana, the story follows Caroline Thibodeaux, an African American maid working for the Gellman family. Her life is a constant routine of washing, ironing, and folding clothes in the Gellman's overheated basement. One day, Rose Stopnick Gellman, the lady of the house, suggests that Caroline keep the change she finds in young Noah's pockets when she is sorting clothes for laundry in order to teach him a lesson about responsibility. But what seems likes a minor act of generosity to Rose soon becomes a symbol of dignity, pride, and survival to Caroline. Set against the backdrop of the civil rights movement and the assassination of President Kennedy, the play examines the growing pains of a country in transformation. The theme of change runs throughout the musical, represented literally by the coins Noah gives Caroline and symbolically through the shifting social changes of 1960s America. The score, with music by Jeanine Tesori, is incredibly distinctive. Almost entirely sung through, it blends blues, gospel, Motown, classical, and traditional show tunes into a soundscape that feels both authentic and theatrical. While many of the songs are brief, they are packed with meaning and emotion, creating a seamless flow of thought and feeling. Tony Kushner's book and lyrics are incisive and poetic, giving voice to characters with conflicting beliefs and deep humanity; the idea to have everyday objects like the washing machine, radio, and bus sing to reflect Caroline's inner thoughts and emotions is a way to transform her routine and silent work into something more expressive while also giving voice to her thoughts and struggles. With many of the songs running just a minute or two and with a series of singing inanimate objects, it may prove different and difficult or quirky and slightly whimsical at times for those used to a more traditional musical theatre score, but it is a musical that is rich, beautiful, and full of emotion. Brooke Leigh Davis brings remarkable strength and restraint to the role of Caroline. Her performance radiates pain, pride, and perseverance, making Caroline's struggle both heartbreaking and relatable. The simple gesture from Rose to keep the change Caroline finds in Noah's pockets comes across as a condescending slight to Caroline, and we feel the pain, confusion, and suffering Caroline feels. We also see from Davis' layered portrayal, the glimmer of hope and happiness in Caroline's interactions with her children as well as in her dealings with Noah. Christopher Spurling projects innocence and honesty as Noah, embodying both a child's confusion as well as his anger when things don't go the way he planned. Spurling is lovely in the role, with an assured stage presence and a distinct portrayal. The scenes he shares with Davis are honest and heartfelt due to the natural connection they have with each other. Rose Stopnick Gellman is portrayed with a mix of frustration and compassion by Kori Jeanne Stearns, a woman trying, and often failing, to bridge cultural and racial divides and to find a way to connect with her stepson. As Dotty, Caroline's friend, Candace Claiborn injects energy and optimism, representing a new generation of Black people pursuing education and independence. Aubrey Tillett is appropriately spirited and outspoken as Caroline's daughter Emmie, embodying the social awakening of the 1960s and the hope for a brighter future. The rest of the large cast features individuals delivering clear portrayals, including Jenina Gallaway, whose vibrant voice makes the Moon shine and shimmer, and Erahn Patton-Stinson, Christal Roundtree, and Tanya Ti-et, who deliver shimmering harmonies and a touch of 1960s girl-group flair as the Radio. Shaylee Flannigan, Trevell Chappell, and Larry Arnold all have warm singing voices and deliver distinct depictions of the Washing Machine, Dryer, and Bus, respectively, while Mark Knoblauch, Suze St. John, Douglas F. Behm, and Chris Fidler are all good as the somewhat stereotypical members of the Gellman and Stopnick families. Rodney Rayford and Alijah Allen round out the cast, delivering endearing performances as Caroline's two young sons. David J. Hemphill's strong direction finds intimacy and intensity in every moment. The minimalist set and evocative lighting create an atmospheric sense of place without overshadowing the characters. Hemphill's staging highlights both the isolation of Caroline's world and the broader sweep of history pressing against it. The music direction by Brenda Hankins delivers strong vocals from the cast and a rich sound from the 11-piece orchestra. The only quibble at the performance I attended was that the sound balance occasionally made it hard to hear and understand some of the lyrics, due to soft vocals or microphones not being turned on at the appropriate time. Caroline, or Change is a powerful, thought-provoking work about transformation both personal and political. Black Theatre Troupe's production does justice to this beautiful musical while reminding us that even the smallest acts of change can carry profound weight. The Black Theatre Troupe production of Caroline or Change runs through November 2, 2025, at Tempe Center for the Arts, 700 W. Rio Salado Parkway, Tempe AZ. For tickets and information, please visit www.blacktheatretroupe.org or call 602-258-8129 Music by Jeanine Tesori Cast: |
