Caroline, or Change

The intriguing title heralded an intriguing musical. The Caroline refers to Caroline Thibodeaux, a maid in a Jewish home in Louisiana in 1963. The change, on one level, refers to the coins which she finds in the pockets of her employers. Caroline – a struggling single mother – is encouraged to keep the nickels and dimes she finds to help her own children.

Many of the scenes take place in the laundry. Caroline’s companions are a washing machine, a dryer and the radio. The writer Tony Kushner has introduced elements of magic realism which he famously used in his acclaimed play Angels in America.

The three objects burst into song. Out of the dryer pops Elijah Williams who sings hot like the devil. Actress Ruva swishes around as the washing machine, whilst three performers personify the radio in classic 60’s Afro American pop style.

The three levels of the house – bedroom, loungeroom and laundry - are miraculously realised in the tiny space of the Hayes Theatre by designer Simon Greer (lucky there is no attic or backyard in the script). Gorgeous costumes and tight choreography also wrap the production.  

Tony Kushner penned the musical based on his own experiences growing up.  The relationship of the young boy Noah (confidently portrayed by Daniel Harris) to Caroline is central to the drama. The young boy’s new step mother Rose (Amy Hack) is struggling to be accepted by Noah and is the catalyst for the conflict. 

Rather than being angry at Caroline for keeping his coins, he revels in the attention it is bringing him. But things go pear shaped when his step grandfather arrives, armed with a twenty dollar Chanukah present.

The musical operates on a personal and political level. President Kennedy is assassinated during the drama and arguments over the growing civil rights movement intrude themselves onto the family dinner table.

Casting requirements for the musical are strict. At the author’s request the leading Afro-American roles must be performed by actors from the same background as the roles are designated. It is a cause for celebration that the Hayes Theatre found such a strong ensemble despite the limited number of performers from that background available to choose from in Australia.

In particular Elenoa Rokobaro was a knock out as Caroline. She has an aria in the second act, Lot’s Wife, which goes for five minutes. Her powerful performance drew squeals from the opening night audience. The lyrics are worth repeating.

My madness rise up in a fury so wild and I let myself go.
Spoke my hate to a child.
Pennies done that. Pennies done that.

It was the musical highlight of the production that included influences of spiritual music, blues, classical and Motown.

David Spicer

Photographer: Phil Erbacher