CAROLINE, OR CHANGE - Reviews — Page 6

Saw Sharon Brown on Saturday night, and she was absolutely incredible. Having already seen Clarke in the role a couple of times, I adored Brown’s interpretation. She felt extremely grounded and emotionally connected in a way that I felt was lacking with Clarke (even though it might be a choice?). But Brown’s “Lot’s Wife” was a revelation. You could FEEL her pain and I found myself hearing the lyrics in a new light. I believed her struggle. I can imagine that she has an advantage with only preforming the role every once and a while, versus doing it 8 times a week and trying to preserve energy, but she vocally and emotionally threw everything on that stage, and her applause was absolutely earned. If you can catch one of her other scheduled performances, do it!!

Caught it last night and was simply overwhelmed with how wonderful it was to hear that score in a Broadway theater again. I do agree that the production’s physical elements do leave something to do desired and the vastness of the empty stage often forces the actors to run motiveless around to fill it. There’s a lot of “business.” Thoroughly enjoyed Clark; I got the feeling she was holding back vocally but the score is a beast. Some real standouts were Levy as Rose, Zien as Grandpa Stopnik and McAllister as The Bus/Dryer. N’Kenge made me nervous as The Moon, not because she was suspended over the stage but because I was always unsure if she was going to be able to sing it. And lastly, I have to ask, why does John Cariani keep getting cast in musicals? He has a very weak singing voice both in tone and pitch and he distractingly sways his head back and forth. He’s a fine enough actor so let’s maybe stick him in some plays instead?

Alexander Lamar said: "Tamika Lawrence’s final performance as Dotty will be this upcoming Tuesday. Anastacia McClesky is joining the show from Wednesday - closing in the role."

Makes sense... she'll be busy with the world premiere of Black No More. Happy trails!

Yes, we needed the full-on rain.

everythingtaboo said: "Also big props to Caissie Levy. While I can listen to her read the phone book, I was worried about her moving into "mother" roles, but she was wonderful, and it made me rethink the character from Cox's also great original performance."

I mean, I'd still buy it if she stepped back into Hair tomorrow but if she reads as young it can also highlight another reason for Rose to feel out of her depth.

I do agree with one of the critics, I forget which, that felt like the Kennedy assassinationdidn't land as emotionally as it should've.

I felt it as a dramatic moment during previews. I didn't register much beyond the vocals of the Bus this time. I don't know what changed, if anything.

(There was also a feeling like I didn't feel a lot of love from Caroline to her kids, especially in their first interactions, but I can't decide if that was intentional.)

It felt intentional to me. Sharon D. Clarke chooses her moments to let it peek through.

I know some critics didn't like the set, but I found it quite interesting. Except for the water during Salty Teardrops. Did we really need a full-on storm? A little mist would've sufficed.

I wonder what Roundabout has going on at Studio 54 because I distinctly remember the lake during Therese Raquin. Maybe it's just easy for them to do a water feature. I think it's a great moment but it does seem like a lot right after Lot's Wife. I almost wish they could change the placement of it.

Anyway, I'm glad you got to see the show too. :)

Very nice New York Times article on Tesori. (Gift link so all can access).

"Jeanine Tesori’s Gift: Conjuring the Storytelling Potency of Music

In shows like “Caroline, or Change” and “Kimberly Akimbo,” the composer excels at translating her astute insights about characters into music."

mattmarkowski99 said: "I want to get tickets for this week, but don't know where I should sit. Is front mezzanine better than farther back in the orchestra? I'm a little worried about mezzanine because I know the higher up you go in Studio 54 the leg room is virtually non existent. What's it like in row AA?"

I’ve sat in the front row of the orchestra and I thought the view was excellent. It’s amazing to be able to see all the nuances of the actors’ expressions, and the stage is low enough that you won’t be constantly craning your neck. I would try to buy in the first two rows of the orchestra if you can - this is a show best enjoyed close up. (I sat in row H another time and didn’t enjoy it nearly as much as when I sat in the first row of the second row.) First and second row seats are often available for 50% off on todaytix the day of the show.

Was in Back Orchestra last night and it was just fine, in case you go for that.

Caught this for the third and last time last night and so happy I did. House was surprisingly full, about 90% of the orchestra sold, though not sure of the Mezzanine. For both a show like this and during these tough times, I found that pretty remarkable.

Very warm house and a cast clearly celebrating the end of the run with them.

A couple thoughts:

-Cassie Levy is indeed enjoying each moment of this performance. You can feel her living in each moment with such relish, embracing the comedy and nuance.

-Sharon Clarke remains incredible and was in fine voice and form. Last time I saw her was right after they recorded the album and it felt like she was measuring her vocal performance from the extra couple sings that week. Not so tonight.

-The direction has been divisive, but last night, I found even more nuance and care throughout the staging. Right before Caroline's confrontation with Noah, the dryer slowly slinks on, like the devil on one shoulder to the all-white angelic washer. Then, when Caroline storms out of the Gellmans, the dryer and the washer run to the center of the set, chasing after her, upset she's leaving them, like toys from Toy Story for Andy, or something. Then, the dryer sulks around the turntable, moaning, grieving, as Noah also grieves what he's done. Beautiful staging.

I was at tonight’s (January 5) performance. It was the first time seeing the show for both me and my theater companion. At intermission, we were of the same mind. We liked it so far, but had trouble understanding some of the lyrics and were worried we might have missed some important plot points. However, he quickly pulled up a plot synopses and it turned out we hadn’t missed anything in relation to the plot. We both loved Act 2 more and agreed that with more familiarity with the music, future viewings would be even more resonant. (As is, the ending was emotional) Unfortunately, we know that won’t happen with this production. Entire cast was fantastic, especially Sharon D. Clarke. We both agreed that the Tony is most likely hers. Also, I know others have criticized the set design and costume design. I however found both effective, especially the costuming.

Question: Around the time we find out about JFK’s death, flood lights came on in the house and lit up the orchestra seats. Anyone know if this was an intentional lighting cue or a fluke? I’d say it lasted about 5 minutes.

Jordan Catalano said: "Damn, tonight was amazing. A seemingly sold-out house with an audience that just “got it”. I’m so sad this time next week the show will be gone."

Jordan, I was there tonight too, Row C center. Flew in from LA yesterday to see a number of shows, but mostly for this and for Assassins tomorrow, both of which I had tickets to in March 2020.


My God, that was extraordinary. I only wish I still lived here so I could have seen it several times, including with Sharon Brown. But I can now say that two of the most memorable theatrical experiences of my life starred Sharon D. Clarke (the other being Death of a Salesman in London in 2019). I saw the original with Tonya and dare say I was more moved by this production…maybe it’s just being older now. But for anyone reading this who hasn’t seen Caroline and has a chance to go to one of the last four performances, do yourself a favor and don’t miss this one. I am SO glad I didn’t cancel this trip last week.

Was at the show tonight, and my God it's firing on all cylinders.



The score is gorgeously acted and sung, I loved the staging, and lyrics that I've heard for years on the OBC hit me totally different tonight.



Bravo to everyone involved!

Anyone know why Tamika Lawrence left the show in mid-December?

I, of course, saw the final show today. Besides the idiot who screamed “Fabulous!” at the end of “Lot’s Wife”, it was a perfect show. I didn’t get too emotional until Sharon started crying after she grabbed Samantha at the end (after taking her coat) and just kept saying “I Love you, I love you…” into her ear.


Tesori and Kushner came out for curtain call. No speeches but everyone was just on stage kind of celebrating their achievement - and what an achievement it was - and showing their appreciation for each other and the audience.


More to say after dinner. But damn, I’m going to miss being able to walk down the street and walk into the theater and see this.