Caroline or Change: Playhouse Theatre

I enjoyed the show and thought it was really well put together and thought the whole cast was really good! The show certainly benefits from an intimate venue, cant imagine what it was like in the Olivier. I hope it does well in its transfer but its quite an odd show to market and sell, even if I was asked to give a word of mouth review Im not quite sure how id describe it myself.

The only thing that bugged me a little was they changed calling her Caroline and Carolin just to fit the rhymes. The first time I thought it was funny, the rest I just wasnt sure if I missed something? The kids really were great, the staging of the piece was really good.

I too was struck a little confused at the ending it just... ended? But from reading previous comments maybe I didn't miss anything there, or maybe I did...

I was in N5 which I thought was an absolute steal for £10, probably one of my favorite seats ive ever had in a theatre!

That makes much more sense, thank you for correcting me!

Just back from seeing this. Some really excellent performances, a brilliant band and great staging - all in all, a real West End-quality production.

My problem with the show was that in terms of its story/narrative, I just didn’t think it was very interesting - it was one of those ones where I kept thinking and hoping that the story was about to start, until eventually I realised there wasn’t going to be very much of a plot (all that repetitive business about the money accidentally/on purpose being left in pockets, and whether or not Caroline was going to give it back or keep it, etc, etc, wasn’t exactly edge-of-the-seat stuff IMO). At that point I just sat back and admired the performances and the technical aspects.

I did enjoy the music, eg the pastiches of the girl group songs, but the show was short of big numbers - it felt like that was almost a deliberate decision in order to stop the show being too commercial and accessible, and keep it more highbrow - and it was frustrating to have a performer of the calibre of Sharon D Clarke playing what is arguably quite a downbeat, ‘locked-in’ character. I know that she finally got to give it some welly at the end, but I wish we’d had a bit more of that earlier. There was one song sung by Caroline’s daughter in the second half that was a properly good ‘number,’ as my father-in-law would say, though I didn’t buy a programme and it’s not a show I know, so I’m not sure of the title.

Anyway, I’m still glad I saw it, because of the quality of the performances and the band.

Have found that I’m actually in stalls b36 for this afternoon - which is weird as it’s definitely not what I booked but hey.
@theatremonkey am I going to have an difficulty do you think? Thanks as ever!

I’m a mixed bag with this - like many people I think.

Firstly, and unquestionably, Sharon D Clark is like a supernova. That 11 o’clock number of hers really knocked me for six. I’m so glad she’s getting to come into the West End with this.

So, I’m not sure I liked the piece. The intimate setting is lovely, but it feels like it’s going to need to smarten up a bit before the West End as it all felt a bit rickety. That, and the fact I thought it was very much a show of two halves. I didn’t really like Act 1 that much - the opening number was clever, loved the girls who played the radio - but apart from that I could have left it. The boy playing Noah was intensely annoying so I didn’t get any connection between them at all.
Act 2 was infinitely better. The song during dinner with them all singing different lines at the audience was quite clever - none of them looking at each other.
I love me some Kushner but I don’t love me some Tesori so it was tricky territory.

But without someone like Sharon at the centre of this, I struggle to see it working.

I think it’s a 4 star production of a 3 star show. With a 5 star leading lady (it made me think how much I’d like to see her to Gypsy - I could feel that she had it in her to play Mama Rose...)

Ooh Being Alive you've hit something on the head for me there- I've never quite 'clicked' with Tesori either. Which is why I'm not as ecstatic about Fun Home as the masses (but giving it a go live). And possibly why I never truly clicked with the musical side of Caroline to the point of listening to it a lot.

That said (and don't take this as condescending, because it's not) I wonder if this time around you're too young for Caroline to really click as well- I only say that because 10 years ago I had a similar experience- I appreciated it, liked bits of it but didn't love it. As did a few friends (who also are Kushner devotees) but this time around the weight of it all really hit me. I just appreciated elements of it more- like 'growing into it' (had a similar experience with Angels as well...maybe I'm having an early midlife crisis)

Anyway since we're talking Kushner, any excuse to drop in I've just confirmed another interview with him for my book *happy dance*

I'm surprised that you would say there aren't *any* standout moments or songs - in particular for me the act two 11 o'clock number "Lot's Wife" is a major Rose's Turn-like moment that I find to be the peak of the show (and as good a showstopper as there ever has been). I found it devastating and heartbreaking. There are some other scattered moments that also seem to stand out to me (e.g., I Hate The Bus, Roosevelt Petrucious Coleslaw, and the Epilogue). However, I do take your point that overall the music doesn't necessarily follow the structure of a typical 'book musical' - it seems to seamlessly weave in and out of dialogue, sometimes with no clear start and end point. In most cases, I can see how it is good at more deeply establishing characters (and this is what this show is - a deep character exploration and thematic exploration of various issues. It's not really a plot-driven musical). 

If I were writing the show, I wonder if the score could have used some cutting or tightening though. For example (and perhaps this also reflects a bias of not really enjoying children in musicals), I wish Noah's singing wasn't so prominent, and similarly while Rose's vocal parts (especially contrasting with the POC cast) do a good job at establishing her character - sometimes it felt a bit relentless/unpleasant I could have gone without. 

Still, despite sometimes scratching my head I consider Sharon D. Clarke's performance and the show to be up there with some of my most treasured theatre memories and performances. 

P.s., I never do this but there was a guy sitting stage left at the end of a row with 3 people who was so cute it was hard to know whether to pay attention to him or the show! (April 21st evening performance). You looked to have been by yourself - as I was because I just moved here. If you happen to read this and want a theatre buddy feel free to inbox me - you might not remember me but we are both guys about the same age and made eye contact in the lobby at intermission . 

Can't see a separate thread for the transfer- would mods like to make one or amend the title of this?
Thought I'd mention that I've just had an email from lastminute.com offering Band A seats for this for £29.50 in the first couple of weeks of the run. Plus you get to choose your seat. Don't ask me how that's "last minute" but let's not argue!

Here’s a clip of Sharon singing Lot’s Wife (a longer clip is on the official Facebook page:

http://instagram.com/p/BnRYwaQHLHe

I hope we get a new cast recording too, like the Chichester revival transfers we’ve had, especially as the OBCR is harder to get hold of now.

Assuming that’s press/opening night then?