Little Boy Lost

Caroline, or Change – Firebrand Theatre and Timeline

 

The title of this smart, unusual, mostly sung-through musical uses the word “change” in the sense of making something or someone different from what it was. It also refers to loose coins, like the nickels and dimes found in a young boy’s pants pockets, and placed in the bleach cup in the laundry room. But in this 2004 chamber opera, with music by Jeanine Tesori (“Fun Home,” “Violet”) and book and lyrics by Tony Kushner (“Angels in America”), change is everywhere.

This multi-Tony Award-nominated musical tackles a myriad of topics. At its simplest, the story focuses on the relationship between Noah Gellman, a little boy who’s lost his mother to cancer, and Caroline Thibodeaux, the family’s discontented African American housekeeper. But the show ambitiously dips into several other areas that are specific to the deep South in 1963. President Kennedy is assassinated, Dr. Martin Luther King is championing the country’s burgeoning Civil Rights Movement, a stepmother makes fumbling attempts to fit in with her new family while her husband grows more distant; segregation, prejudice, class distinction and poor wages dominate America. All the while the radio plays bouncy songs that seem especially aimed at the weary housekeeper.

Money becomes the root of all the evil in this musical. Rose, Noah’s frustrated, but well-meaning stepmother, tries to send leftovers home with Caroline to feed her family. Since she isn’t able to give her a raise in pay, Rose also tells Caroline that she may keep any change she finds in Noah’s dirty pants pockets, because he apparently doesn’t value what he has enough to empty them himself. Caroline, whose life is anything but happy, and seldom smiles, refuses Rose’s generosity on several counts, although she longs to give her struggling family a little more. Caroline’s three children are corrupted by their wishes for more money and their desire for a television epitomizes this. Rose’s old-school Jewish father is also colored by his worship of the almighty dollar.

Amid the drama and realism of this play there are several anthropomorphic characters that add an element of whimsy to balance out the seriousness. The moon and the washing machine (beautifully played by Tyler Simone) and the bus and the dryer (a talented Michael Lovette) both sing to Caroline as she goes about her chores and travels to and from the Gellman house. Even the radio, represented by three Supremes-like divas (played with perfect moves and harmony by De’Jah Jervai, Emma Sipora Tyler and Roberta Burke), give voice to Caroline’s    silent wishes and worries. 

Produced in a partnership with TimeLine Theatre, Firebrand’s Theatre’s second season opens with a bang. The production is directed with great feeling, poignance and grace by Jeff Award-winner, Lili-Anne Brown, featuring great musical direction by Andra Velis Simon (who also plays keyboard and conducts her gifted, five-member backstage musical combo) and some sassy choreography by Associate Director Brigitte Ditmars. Scenic designer Lauren Nichols has created a massive stage set, perhaps a little too deep, filled with steps and levels that form the various floors of the Gellman house, as well as Caroline’s own modest home, the bus stop and the surrounding area. The production is nicely lit by Cat Wilson. Kotryna Hilko’s period costume designs are excellent, particularly her gown for the Moon and her dresses and hats for the radio girls that resemble wearable shortwave sets.

The topnotch cast is led by the incomparable Rashada Dawan, as Caroline. This magnificent singer, with the voice of an angel, not only hits every note perfectly and brings the audience to its feet, but she masters the tired, frustrated countenance of a weary middle-age woman who carries the world on her aching shoulders. Ms. Dawan’s Caroline obviously has endured a lot during her 39 years and she’s come to the place in her life when she refuses to accept any more crap. To Rashada Dawan’s credit, she makes every theatergoer fully understand her sadness, annoyance and disappointment with what life has handed her.

Another masterful artist, Nicole Michelle Haskins is terrific as Dotty, Caroline’s optimistic, yet somewhat skeptical, best friend. Dotty is not only always hunting for something better, she’s made it her mission to go out and grab it for herself. As Emmie, Caroline’s eldest daughter, Bre Jacobs brings the promise of a brand new era about to dawn. Unwilling to settle for being less than what she is, her Emmie is strong and defiant while remaining a trial for her mother. Besides being a wonderful vocalist and dancer, Ms. Jacobs proves also to be a talented young actor and someone to watch. 

Blair Robertson is peerless as Rose Gellman. She subtly captures the quiet frustration and resentment she harbors while trying to reach her new family. Transplanted from New York City, Rose tiptoes around the issues, afraid to hurt anyone’s feelings or to assert herself very much. Ms. Robertson is unparalleled in this unsympathetic role. She has the added difficulty of playing opposite a spineless, clarinet-playing husband, Stuart Gellman. This character is nicely essayed by Jonathan Schwart, whose portrayal of a man who seems to have lost the will to live since the death of his first wife, is spot-on. And as Noah, the innocent eight-year-old who desperately misses his mother, Alejandro Medina is outstanding. Always natural, never precious, Master Medina, who was last seen as CJ in Chicago Children’s Theatre’s “Last Stop on Market Street,” brings an honesty to a role that borders on heartbreaking.

Every so often there comes along a special show that informs audiences that here is a new theatre company that should be taken seriously. It began last year, with Firebrand’s eye-popping, jaw-dropping premiere production of “Lizzie.” Now, continuing into their second season, this company is showing Chicago that their first production wasn’t just a fluke. With this unique, exciting, inspirational musical, partnered with TimeLine Theatre, gorgeously directed with confidence by Lili-Anne Brown, and supported by a terrific cast and artistic team, “Caroline, or Change” is one of the Fall Theatre season’s must-see musicals.

Highly Recommended

Reviewed by Colin Douglas  

 

Presented September 22-October 28 by Firebrand Theatre & Timeline Theatre at The Den Theatre, 1331 N. Milwaukee Ave., Chicago.

Tickets are available in person at the Den box office, by calling 773-697-3830 or by going to www.firebrandtheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.