Toronto Review: 'Caroline, or Change' is heavenly glorious at The Winter Garden Theatre
Joe Szekeres, Chief Toronto Critic
The last time I felt tears welling in my eyes was at the standing ovation of ‘Come from Away’, when it played at the Royal Alexandra and The Elgin Theatres.
Suffice it to say that I could feel these same tears once again as I stood for the much-deserved ovation of an incredibly moving opening night performance of the sung through musical of Tony Kushner’s ‘Caroline, or Change’ with music by Jeanine Tesori. Robert McQueen’s exquisite stage direction combined with Reza Jacobs’ sublime music direction suckered punched me in the gut so darned passionately that I couldn’t speak for a few minutes upon leaving Toronto’s beautiful gem of The Winter Garden Theatre.
Led by a magnificent performance of Jully Black as single mother and heroine, Caroline Thibodeaux, with an extraordinarily outstanding 15-member cast (including Measha Brueggergosman), this ‘Caroline’ cast took me through historical changes of 1963 that included the Civil Rights movement and the assassination of then President John F. Kennedy. These are major historical changes but where I was moved was closely watching the changes occurring within this fractured family unit.
It is 1963, Louisiana, and we become involved in the life of black maid Caroline Thibodeaux and the Gellman family. Widowed father Stuart (a moving performance by Damien Atkins) has never got over the death of his first wife. He is a professional clarinet player. Stuart’s relationship with his son, Noah (wonderful, true to life portrayal of lost innocence by Evan Lefeuvre) has become extremely awkward ever since the death of his first wife. As Rose Stopnick Gellman, Stuart’s second wife, Deborah Hay, heartfully and plausibly teeters on that edge of trying to be everything for everybody – the perfect wife, the perfect stepmother, the perfect daughter, the perfect employer.
As the play opens, Caroline (clad in her crisp white maid’s uniform) quietly enters the basement of the Gellman home to do the laundry where the washing machine (Keisha T. Fraser) and the dryer (Stewart Adam McKensy) come to life, and we learn more about the heroine’s past. Ms. Fraser and Mr. McKensy are vocally stellar. The radio also comes to life in the terrific doo wop girl singers of Camille Eanga-Selenge, Alana Hibbert, and Samantha Walkes. We also meet Caroline’s ex-husband (Stewart Adam McKensy) who, horrifically, appears as a good man on the outside. When he returns from the war, he is the not the man we think he will be. We also meet Caroline’s children, Jackie (Moses Aidoo), Emmie (Vanessa Sears) and Joe (Micah Mensah-Jatoe). We also meet Caroline’s good friend, Dotty Moffett (Alana Hibbert).
To round out this company, we also meet Grandpa and Grandma Gellman (Oliver Dennis and Linda Kash) and Rose’s father, Mr. Stopnick (Sam Rosenthal). I especially liked the remarkable staging of the family dynamics in Act 2’s ‘The Chanukah Party’. To top off this multi layered exquisite theatrical presentation, Measha Brueggergosman’s soaring operatic vocals as The Moon and her constancy amidst all these life changes captivated and spellbound me for this nearly two-and-a-half-hour performance.
Michael Gianfrancesco’s open air concept of a three-level set design of the Gellman house with the high picket fence at the back utilizes the entire stage artfully. The orchestra sits stage right in the box seats. For me, this decision worked beautifully as the sound carried well throughout the entire auditorium. Alex Amini’s costume design nicely reflected the early 60s era for each of the characters. Peter McBoyle’s sound design achieved not only that important balance between the singers and the orchestra, but also underscored effectively any required heightened tension..
I’ve never seen a production of ‘Caroline’ before, so I had no idea what to expect. It did take me a few minutes to accustom my ear to the musicality which at times ranged from Stephen Sondeimish meets high opera. It only took a few minutes, nevertheless, and I bought it all completely as I listened intently to the story unfold before me.
The first act dealt with learning more about Caroline’s past and her relationship with the Gellman family, and the various possibilities why the maid might appear restrained, sullen, and angry. Ms. Black masterfully commands the stage and drew my attention each time she appeared. There were many moments where my breath was taken away simply just from watching Ms. Black at work, in the first act. For example, one occurred in what is known as ‘The Bleach Cup’ scene and the reason why the cup becomes of tremendous importance.
However, with this dynamite cast, I wanted to know if I would get a chance to see these other theatre stalwarts also add to the entire thematic element of the play that change is inevitable, and it will come.
Just wait until the second act. There are many times where I’m still in respectful and admirable awe of what this cast did to me emotionally.
I don’t want to spoil any plot element. Nevertheless, pay close attention in the second act to the moment in the laundry room between the young Evan Lefeuvre and Ms. Black. I had goosebumps in listening to every word, hearing the silence and watching the reactions between the two all on account of a twenty-dollar bill. Pure artistry of theatricality at this moment. Bravo.
FINAL COMMENTS: This Canadian cast of ‘Caroline, or Change’ is a poignant reminder to all of us that, as both Philip Akin and Mitchell Marcus write in their Programme note, “Change comes fast and change come slow, but change come.”
You must see it.
Running time: approximately 2 hours and 30 minutes with one 20-minute interval.
Photo of Jully Black by Dahlia Katz
CAROLINE OR CHANGE
Runs to February 15 at The Winter Garden Theatre, 195 Yonge Street, Toronto. For tickets, visit www.ticketking.com or call 1-416-872-1212.
Produced by The Musical Stage Company and Obsidian Theatre Company
Book and Lyrics by Tony Kushner; Music by Jeanine Tesori;
Director: Robert McQueen; Music Director: Reza Jacobs; Sound Designer: Peter McBoyle; Choreographer: Tim French; Set Designer: Michael Gianfrancesco; Lighting Designer: Kimberly Purtell; Costume Designer: Alex Amini; Stage Manager: AJ La Flamme
Performers: Jully Black, Moses Aidoo; Damien Atkins; Oliver Dennis; Camille Eanga-Selenge; Keisha T. Fraser; Deborah Hay; Alana Hibbert; Linda Kash; Evan Lefeuvre, Stewart Adam McKensy; Micah Mensah-Jatoe; Sam Rosentha; Vanessa Sears, Samantha Walker, and featuring Measha Brueggergosman as The Moon.
Follow me on Twitter: @SzekeresJoe