Customer Reviews

Caroline, Or Change (2004 Original Broadway Cast)

5 star:		(38)
4 star:		(2)
3 star:		(2)
2 star:		(4)
1 star:		(0)

 

 

Do you remember what it was like when you first fell in love with musical theatre? You listened by yourself, and it took you on an emotional roller coaster, through feelings so strong that you literally got goosebumps? You wanted to share the show, but other people didn't quite get it and all you could do was listen to the show over and over and over again. This CD threw me head-first into why I loved musicals to begin with. It is the best evidence that Broadway isn't dead--it is a vital and exciting and amazing form that pulls on our emotions more deeply than anything else. This show fulfills the promise that Sondheim made, that Michael John LaChuisia has continued and now Tesori and Kushner have completed--the promise of an intelligent AND emotionally overpowering form that moves and challenges and celebrates.

"Caroline, or Change" is one of the more unusual musicals I've ever seen; it's virtually sung-through, yet it feels much more like a musical than an opera. It pushes the boundaries of contemporary musical theatre in its form, its style (yes, there is a singing washing machine, radio, dryer, and bus), and its content: there aren't easy answers here, nor is there anything resembling a traditional happy ending. Instead, the show's conclusion is true to life - a combination of deep sadness and hope.

Jeanine Tesori, Tony Kushner, and director George C. Wolfe have achieved something monumental here, and if listening to the show is an altogether different experience from seeing it (I've been four times and counting), it is no less moving on disc. Indeed, to call this recording incredible would be an understatement. The more I hear this show, the more I think of it as this generation's "Sunday in the Park with George." It's as seminal a work as that is, and it's equally moving in its own way. Where "Sunday" is about (among other things) the ability of one human being to connect to the rest of the world, "Caroline" is about (among other things) the pain of being confined to one's inner world, unable or unwilling to share it with anyone, not even God. It's about the different ways people react to change and to life itself; it's about waiting for a bus that won't come. Caroline Thibodeaux ranks among the greatest roles written for a woman in musical theatre, alongside Mama Rose, Mrs. Lovett, Dot, and Norma Desmond, and Tonya Pinkins gives the performance of a lifetime both on stage and on this recording. Please buy it, and please see "Caroline, or Change," which has become one of my all-time favorite musicals.

In response to some previous reviews, I would like to begin by asking the following of some reviewers: Did you even listen to the CD at all?
I have seen Caroline twice on Broadway and fell in love with the show upon watching the first scene. The genius of this score lies in the brilliant use of motivic development employed by Tesori. Every line of music in this score is so specific to the character singing. You'll notice how most of Caroline's music roots itself in blues and gospel styles. Noah's music (the son of the family for which Caroline works) is very simple in both orchestration and meter (usually in 3), perfect for a child of 8 years old. Rose (Noah's stepmother) is direct from New York and thus her music is a very urban pizzicato, amelodic and very telling of her character. Of course, the Radio sounds exactly like the Supremes and the Washing Machine has an incredible rhythmic motif that perfectly embodies a washing machine...I could go on about this for hours, in summation, Tesori's music is remarkably implemented.
Take these motifs and then expand them, interweave them, and spread them out over an entire show and the result is a truly remarkable operetta, a quilt of many styles and colors.
Kusher's story is just as compelling. Both times I saw the show in New York, I cried. It is a tragic tale of a woman who cannot seem to connect to her time, and of the destruction of a relationship between a maid and a young boy. While Kusher's lyrics (mostly rhymed couplets) can get a little tedious, the symbolism he creates with his words is nothing short of incredible.
In the Broadway production, the show is broken up into scenes which seem to be determined by the subject at hand (for example, in act one, the scenes are as follows: Scene 1: Washer/Dryer. Scene 2: Cabbage. Scene 3: Long Distance. Scene 4: Moon Change. Scene 5: Duets. Scene 6: The Bleach Cup). In the Broadway program, these scenes are all that are listed. There are no real song titles, because this is a motivic operetta with a few Arias. On the CD, the producers were obviously obliged to change this format. They inserted new tracks on the CD every so often so that the listener could jump through each scene. Useful, yes, but this may interrupt the flow to a listener who simply skips about.
In summary, I would absolutely recommend this CD to anyone wishing to experience a truly provocative musical. This is an actual piece of theatre, not another fluffy spectacle.

It's a crime this show didn't win any Tony's for it's brilliant score. It did get one for Anika Noni Rose, who is absolutely brilliant in her portrayal of Emmie, Caroline's headstrong daughter who yearns for a better life and resents her Mother for not wanting the same.

There are so many threads weaving together this story and all are heartwrenching and strong. The voices on this CD are all perfect in context of their characters, some of the best voices I've ever heard all in one place, some very annoying and rightly so.

I could go on and on singing this show's praises, it's just so damn good. I do think it needs a bit of a rewrite though, because the the role of Caroline is written to absolutely destroy any woman's voice who plays her. Thankfully, this soundtrack exists to show just how amazing Tonya Pinkins' performace really was. Such passion and pain, such anger and sadness; her voice soars, screams, whispers, trembles, breaks, and soothes.

All of the fantastical characters are stunningly performed, the voices soaring and mingling in magical ways.

I had the pleasure of seeing this wonderful show while it was on Broadway. The only thing that measures up to the joy I experienced seeing this show is the cast recording. Kushner has crafted an in-depth analysis of human pain and struggle. Caroline is not your typical heroine. She doesnt smile and doesnt offer some catchy upbeat ditty. She is pained and in a difficult situation. What makes this show perfect is that Kushner is always true to his characters and never sacrifices the story for the easy and happy-go-lucky ending. Cherish the fact that the full libretto is included with the CD. It only made me love, understand, and appreciate the story and characters more. Tesori's music perfectly compliments the soul of this woman, Caroline. Her real genius is showcased in the complexity with which she weaves various musical idoms. Each set of characters have their own voice. I often find myself ignoring the vocals to simply listen to the perfection of the orchestration. Pinkins is absolutely wonderful. There were complaints about the strains of her voice, but the raw intensity of her performance and voice only serve to strengthen her characterization. She was robbed of the Tony.

Ignore the fact that the show was not a financial success and did not win the Tony. It features the type of complex and truthful story that unfortunately is ignored sometimes for more tourist friendly, yet still good, shows.

I have to admit that, while I think CAROLINE OR CHANGE is revolutionary, I can understand why people have mixed feelings about this musical. It's such a character piece, it's almost a play set to music with operatic overtones. Seeing it live was a very moving experience. Tonya Pinkins, who so derserved the Tony, gave her all, but you can tell that playing Caroline is vocally taxing. Not so on the CD. This recording is even more powerful upon second listening. I have to agree with other posters in comparing this to some of Sondheim's more challenging masterpieces ("Sunday," "Assassins," "Passion") that, in a few year's time this will be looked on as favorably as those I've mentioned. If you don't like it upon first listening, wait a day or two and listen to it again. I promise you, it will keep you thinking.

"Caroline, or Change" is a small miracle.

It is a miracle that, on his first try, Tony Kushner has written a musical for the ages, a mini Greek tragedy set in the swamps and bayous of Louisiana in 1963.

The play opens on the eve of Pres. Kennedy's assassination. Caroline Thibodeaux, played to perfection by Tonya Pinkins, is a maid in the home of the Gellman's, a middle class Jewish family. Eight year old Noah Gellman (Harrison Chad) had put Caroline up on a platform since the death of his mother, and Caroline wants to get off. She has four kids of her own to take care off, including a son in Vietnam.

Noah's father has since remarried his late wife's best friend, a New Yorker named Rose Stopnick (the great Veanne Cox). It is never explained how his Southern wife would know her, but we'll let it slide and call it poetic license. Noah hates Rose, and Rose thinks that he is a spoiled brat. Caroline doesn't like her, either.

Caroline's second oldest child and only daughter, Emmie, is a budding civil rights activist who looks down on her mother for not being active in the struggle. This is the typical conversation they have:

CAROLINE: Emmie Thibodeaux, since when do you say 'Black man'. You say 'colored' or 'negro', like you was brought up to.

Anika Noni Rose won a well-deserved Tony for playing Emmie. Sadly, it was the only Tony the show won.

Now, to the matter of "Lot's Wife". This number is electric. On the night that I saw the show at the Eugene O'Neill Theatre, Ms. Pinkins received a two minute standing ovation in the middle of the second act, after she performed this number. You can feel the pain, anguish, and disgust in her voice.

The show played for only four and a half months on Broadway. It should still be playing. It is currently in LA, and will soon go to San Francisco. If you live in either city, get yourself to see it. If not, this stunning cast album will do just fine.

The complex and challenging "Caroline, or Change" is likely to provoke a wide range of opinions on its worth. Because it does not conform to conventional song structures it is not an easy work and requires repeated listenings to glean all of its thematic richness and beauty, but it's worth the effort. This is easily the most exquisitely evocative and artistically accomplished musical to appear on Broadway in decades. It challenges and provokes its audience without pandering to it. In the bland and blatantly commercial climate that envelops current Broadway, this is both remarkable and suicidal (the show closed in a mere four months), but we should be greatful that "Caroline, or Change" was recorded because this musical demands attention. Lyricist Tony Kushner and composer Jeanine Tesori have produced a masterwork that deserves to live on in future productions. The music evokes many styles in its reflection of American culture, though Tesori does not use pastiche to attain this effect, but rather employs themes and structure to represent the world and internal life of the characters. Kushner's lyrics are alternately bracing, humorous and ferocious. The cast, led by the stunning Tonya Pinkins, is uniformly excellent, but special mention must be made of Anika Noni Rose as Emmie and Veanne Cox as Rose. It is the triumvirate of these three characters that is the heart and soul of the show, and these actresses bring them to vivid life. It is astonishing that the entertaining but exceedingly lightweight "Avenue Q" beat out this score for the Tony award, not to mention the show itself, but "Caroline" will remain long after "Q" becomes an anachronism from another time. Like "West Side Story" and "Sweeney Todd", "Caroline" begs the audience to broaden and challenge its own expectations. We do, and the rewards we reap from this vibrant and unique achievement are never less than stunning. A new classic is among us.

I haven't seen the production but as much of the story, including dialogue, is sung, and the full score is presented on the CD, this is the next best thing to being there. I DO NOT agree that the show is ahead of its time. It continues the wonderful tradition I was afraid would die with Sondheim. A tradition of the intellectual musical. It has tremendous depth - emotional, intellectual, musical. If you haven't seen the show I'd advise that you read the lyrics as you listen, otherwise its somewhat difficult to follow, but BUY IT. Like Sweeney Todd, A Little Night Music, Company and Sunday in the Park with George you'll hear something new every time you listen.

I saw this show in mid-June. Now - I don't usually weep at the theater, but this show really affected me in ways I have trouble explaining. Everything about the the show was beyond brilliant.

First I must rave about the performances. Tonya Pinkins gave one of the most beautiful performances I've seen in a musical. She was able to balance theatricality and emotional urgency in a role that can be seen as difficult. She brought out so many rich colors to such an insular character. Just her tone of voice and lovely eyes gave away so much as to what her character was going through. Anika Noni Rose gave a wonderful performance as Caroline's daughter. She was both wide-eyed and critical - an old soul having to feeling things out again and again. Chuck Cooper - stunning voice and gorgeous presence. Veanne Cox - heartbreaking in her contradictions...and funny too. The rest of the cast was perfect as well.

Tony Kushner is one of our modern American genius writers. He manages to address critical issues from a homefront (emotional) perspective. Jeanine Tesori's music is chameleon-like and often quite moving. And George C. Wolfe's direction was so masterful.

This recording is a flawless audio documentation of this amazing musical. I highly recommend it to anyone. Ideally, it would best to see the show first. But I'm sure, it would still be appreciated on a cold listen.