Review: CAROLINE, OR CHANGE at The Marcelle

This weekend Fly North Theatricals opened their production of CAROLINE, OR CHANGE at the Marcelle in St. Louis. This fantastic production is helmed by Brian McKinley in his directorial debut. CAROLINE, OR CHANGE is a semi-autobiographical operetta with Book and Lyrics by Pulitzer Prize for Drama and Tony Award winning Playwright Tony Kushner. The score is written by two-time Tony winner Jeanine Tesori who most recently won the Tony Award for Best Score for her work on KIMBERLY AKIMBO. Tesori’s other Tony Win was for Best Score for her work on the musical FUN HOME.

The protagonist in CAROLINE, OR CHANGE is an African American maid working in a liberal Jewish household in 1963. It is set against the backdrop of the civil rights movement and the assassination of President John F. Kennedy. Caroline is most often seen doing laundry in the basement of her employer’s household and engaging with young Noah Gellman. Noah is the 8-year-old son of Stuart Gellman and his stepmother, Rose Stopnick. Caroline is a proud, unhappy, hard-working divorced woman taking care of her three children. She has built a wall around her emotions derived from scars of her childhood, her abusive failed marriage, and her growing resentment toward her employers who are paying her a miniscule $30 week to run their household. The other characters, especially Noah, Rose and Emmie (Caroline’s daughter), are there to challenge her long held beliefs. In addition to the Gellman family and her children, playwright Kushner has made characters of the appliances in the basement where Caroline spends her time in the Gellman home. Human actors represent the washer, dryer, and radio to influence her cognitive thought process relative to her stoic, angry demeanor and her resistance to change.

Kushner wrote an incredibly cerebral story that is supported by Tesori’s complex score. This work contains multiple grand aria-like pieces that allow the principal characters to have dynamic transformational moments that are packed with emotion. De-Rance Blaylock (Caroline), Zoe Klevorn (Noah), Kanisha Kellum (Dotty/ The Washing Machine), and Kenya Nash (Emmie), all knock the audience back in their seats with powerful vocals that are goosebump inducing. While you won’t leave humming Tesori’s score, her music coupled with Kushner’s lyrics, provide strong character arc for Caroline, Noah  and Emmie.

Brian McKinley has made a statement in his first venture as a director. McKinley has cast accomplished actors with enormous voices to sing this bold score. He smartly uses the performance space in the black box theater to allow for stage entry and exit in all four corners making the most of the minimal space for his blocking choices and character movement. He wrings emotion form his actors, especially Blaylock as Caroline, Kellum as Dotty, Klevorn as Noah, Nash as Emmie, and Avery Lux as Rose. His collaboration with music director Colin Healy, choreographer Caleb Long, and costume designer Vanessa Tabourne illustrate how a director’s leadership can influence the technical team to enhance storytelling.

De-Rance Blaylock’s (Caroline) performance is awe-inspiring. Her voice is otherworldly, and she slays the audience with every note sung. Her characterization perfectly captures the pain, anger and resentfulness the years have pinned upon Caroline. While she is stoic and cold, she masterfully shows the subtle moments when her detached emotional state starts to be chipped away by Noah and Emmie. Her emotional appeal and vocal gymnastics singing “Lot’s Wife” is a tour-de-force.

Zoe Klevorn (Noah) shows emotional heart in her portrayal of the young Noah. The young actress transfers Noah’s desperation to replace his relationship with his deceased mother by befriending Caroline. At no point during the performance was it apparent that Klevorn was playing a character of a different gender. Her work was astounding and completely convincing. Klevorn did a magnificent job learning and delivering the extensive libretto. It was impressive that a young actress could manage the sheer volume of material. Kudos also needs to be given to the other child actors Malachi Borum (Joe) and Cameron Hadley (Jackie). Borum and Hadley sing beautifully and illustrate believable attachment to the actors who play their mother and sister. All three of the children in this cast have compelling stage presence that is beyond their years. Credit also needs to be given to Brian McKinley for the direction given to his youth actors.

Kimmy Kidd, Adrienne Spann and Ebony Easter take on the role of The Radio, singing the parts of the score that are Caroline’s cognitive thoughts, advancing the plot like a Greek chorus. These three performers deliver divine vocal performances and handle the most choreographed roles with graceful agility. Kidd does double duty also singing the role of The Moon and her solos are celestial.

There isn’t a weak member in this cast. Kanisha Kellum (The Washing Machine/Dotty), Duane Foster (The Dryer/the Bus), Kenya Nash (Emmie), Avery Lux (Rose Stopnick), and Jordan Wolk (Stuart Gellman) all have roles requiring delivery of substantial parts of the libretto. Each have a splendid voice and aptly express their character’s emotions through song. The cast is rounded out with skillful performances from Ken Haller (Grampa Gellman), Mara Bollini (Grandma Geller) and Kent Coffel (Mr. Stopnick). In the few minutes that Coffel is on stage, he delivers an intense performance in his feud with Emmie. He and Kenya Nash create palpable tension and have one of the most memorable scenes in the production.

Overall, Director Brian McKinley, his cast, orchestra and technical team have staged a production of CAROLINE, OR CHANGE that elevates the script and score. In his first try as a director, McKinley has led a vocally accomplished cast and an exceptional crew to a tremendous success. CAROLINE, OR CHANGE will continue at The Marcelle through August 12th.

PHOTO CREDIT: Julie A. Merkle

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