CAROLINE, OR CHANGE Previews — Page 6

Do we know for sure if Cariani is actually playing clarinet? I actually played clarinet for Caroline off-off Broadway at Gallery Players and the character part is written into my score book and I can tell you is one of the hardest shows I've ever played, those klezmer solos are insane. When I saw this revival, I highly doubted he was playing just based on my experience having it in the orchestra book, and how difficult it is, but if he is, great for him, he must be really good at it.

And yes his father is a clarinet (hence all the clarinet solos) and his mother was a sad bassoon (so there's a big bassoon part that sometimes comes in). The orchestrations are appropriate and truly lovely.

Being a part of the production truly gave me an appreciation of the show that I doubt I would have had if I only saw it. There's been great discussion and I'll add just one of my favorite moments from the show. At the end when Caroline's last lines are admitting she misses sharing the cigarette. I believe this is the only time in the show she directly acknowledges caring and having any kind of affection for Noah "directly" to him.

Jordan Catalano said: "Love what you said there, Kad.

and are: that moment with Stu and Rose, Rose’s lyrics here -

“Look, see Rose’s husband,
gone stiff in mid-air,
the heartbroke musician
who froze on the stair.
Oh Stu do you love me?
The question’s unfair:
How can you be loved by
someone who’s not there?”

Has always been one of my favorite moments in the show. I remember when I first heard those words they really hit me like a punch to the stomach and almost left more of an impact on me than anything else.

Heading back to NYC right now and I can’t WAIT to start seeing this show as many times as I possibl can. "


Even the way that phrase is written and orchestrated . It’s a cappella, then the bassoon comes in. Just perfect.


Anyway, I can’t wait till you get to see this. Just like the original production, it has stayed with since I saw the first preview and can’t wait to go back.

That was brilliant.

I kept waiting for something big to happen but by the end realized that everything little that was happening was adding up to one of the most emotional endings I've ever felt at a musical. The last half of act two got me GOOD. The scene with (soon-to-be-Tony-nominee for sure) Tamika Lawrence and (its in the bag) Sharon before Lots Wife had no right to be THAT powerful. And it sets off an emotional avalanche. I spent a lot of the show thinking, 'this is good' and by the end thought 'that was genius'. I have a feeling it will stay with me for a while too. Part of me wishes they used the Good Morning America ending of Salty Teardrops though. Only because I think the audience wants to go nuts at that point. Lots Wife ends on a quieter note and we're waiting for a giant release. Anyone else have thoughts on that?

As many have said, its not going to be everyone's cup of tea. There are no poppy production numbers or spectacular moments. Even though the singing is some of the best on Broadway the songs themselves aren't stand alone pieces made for piano bars and voice recitals. but for those looking for something powerful thought provoking. and relevant it is a must-see.

Updated On: 10/22/21 at 12:56 PM

All of these reviews and discussion has me beyond excited to see this next month! This will be my first exposure to the show and material.

As far as I know, any show with rotating kids never publishes their performance schedule to keep away any weirdos.

Jordan Catalano said: "I love seeing so many mew people discover this show and all its layers. Makes me think of after I first saw it and was still wrapping my head around it and told someone how I couldn’t believe Caroline told a kid he was going to hell and my friend said “No. she told him his Mother was burning in Hell.” And that just blew my mind. That had never even occurred to me and there’s more than a few moments like that. "

OMG. Mind blown! That's exactly what she did!

Fosse76 said: "Jordan Catalano said: "I love seeing so many mew people discover this show and all its layers. Makes me think of after I first saw it and was still wrapping my head around it and told someone how I couldn’t believe Caroline told a kid he was going to hell and my friend said “No. she told him his Mother was burning in Hell.” And that just blew my mind. That had never even occurred to me and there’s more than a few moments like that. "

OMG. Mind blown! That's exactly what she did!"

Ummm WOW Thank you for this Jordan because it’s never occurred to me either!

BJR said: "Has anyone done the digital rush for this, or any other Studio 54/Roundabout show? I just fear that mezzanine, which is treacherous."

I was there today - I didn't rush but I heard people who did - the entire side section of the front mezzanine was rush. Not sure if its both sides or not.

I saw this tonight and I am way more conflicted than I had hoped or wanted to be.

On one hand, I am so happy this show is back on Broadway. The material has only become better and, unfortunately, more relevant in the nearly 20 years since it debuted, and it shines here, despite...

Despite, well, the efforts of the director and the design to stymie everything.

It is one of the worst-designed musicals I have seen at this professional level. The set truly looks collegiate, and the costumes are unbelievably cheap and tacky looking. The wigs on the Radio girls look like shake-and-go bagged affairs from Ricky's, while the less said about the unfortunate Washing Machine, the better. The Moon's flown-in entrances drew noticeable snickers. The attempts at whimsy for the inanimate objects will get most of the flack, but, frankly, the costumes across the board all seemed off to me. The fits, the styles, the lack of a sense of "wear" to them... they all read as costumes, not clothing these people wear in life.

And the direction seems to be pushing the performers to go bigger and broader, and to aimlessly wander (or revolve, on a turntable) around the stage, filling the space with unnecessary business. The first act plays like light comedy, losing the pervasive sorrow and confinement of the characters. Not to say this show be a dour drama, but it certainly isn't something that should be pushed so much. And unnecessarily distracting flourishes abound.

Sharon Clarke is great- her Caroline is far more restrained than Pinkins', and it's certainly a far more sustainable performance... but it sort of loses that truly fully committed power that Pinkins achieved by pouring herself so fully into the part.

The MVP for me was Tamika Lawrence as Dotty, who was pitch-perfect throughout.

There were clear places for applause after Lot's Wife and Salty Teardrops. I would not be surprised if Roundabout has pushed for more overtly audience pleasing changes to the production, such as those breaks or the louder/faster/funnier tone, to be honest.

Updated On: 10/23/21 at 11:33 PM