Tag Archives: playhouse theatre

Caroline, or Change (Playhouse Theatre)

poster image for Caroline or Change

The Chichester Theatre production of this accomplished musical has just announced it closes a month early to make room for the transfer of Fiddler on the Roof from the Menier, but I would recommend you take advantage of the deals and discounts now available to see Caroline, or Change, if you can.

Planned for several years, and written by Angels in America author Tony Kushner, this show was originally planned as an opera but instead grew into a stage musical, largely sung-through, composed by Jeanine Tesori (her previous show, Violet, is also in town, and I will report back on that next month).

Dujonna Gift-Simms, Ako Mitchell, Tanisha Spring, Sharon D Clarke
Dujonna Gift-Simms, Ako Mitchell, Tanisha Spring, Sharon D Clarke

Caroline (Sharon D Clarke) is a black maid who works for a rich Jewish family, the Gellmans. She is a widow with three children of her own, who live in poverty under the shadow of the Confederate Statue we see as the play opens, a symbol of the white privilege which stops the likes of Caroline and her friend Dotty (Naana Agyei-Ampadu) from getting on in life.

The opening scene proper gives a sense of the unusual: there is a singing washing-machine, a dryer, and eventually, the lady in the moon. This gives a sense of the fantastic to Caroline’s mundane day of cleaning and doing the laundry.

Me'sha Bryan and Sharon D Clarke
Me’sha Bryan and Sharon D Clarke

We are also introduced to Noah, the spoiled young man of the house (Aaron Gelkoff at this performance), who misses his dead mother, resents his cookie-cut stepmother (Lauren Ward), and enjoys sharing an illicit daily cigarette with Caroline.

Noah has a habit of leaving loose change in his pockets, and this is the “change” which is depicted in the title; he seeks attention by leaving the change for Caroline (who is allowed by Rose, the wife, to keep it), and she takes the opportunity to treat her children to the treats they would otherwise go without.

Sharon D Clarke and Abiona Omonua in Caroline or Change
Sharon D Clarke and Abiona Omonua in Caroline or Change

Politics intrude now and then – the assassination of JFK, who was on the side of civil liberties, and a Chanukah celebration which touches on racial politics, with an argument between Mr Stopnick, Rose’s father (Teddy Kempner) and Emmie, Caroline’s growing daughter (Abiona Omonua) – but what matters is the bond between people, and the aspiration for change in the literal sense.

Noah’s father (Alastair Brookshaw) plays the clarinet and hides his grief; his parents (Vincent Pirillo and Sue Kelvin) add pointed commentary, and Noah grows to find his place in the natural order of things; still, by the ending it seems Caroline has achieved her change, set aside the memories of the sailor she lost, and found her place.

The songs are largely memoraable and vibrant – highlights would include Lot’s Wife, I Hate the Bus, and the Laundry Quintet, with the Radio girls who form a kind of chorus. Clarke is an acting and singing powerhouse, and Omonua is impressive, and all the children do well with their routines.

An informative programme (£5) gives the cultural background on the time depicted, and the genesis of the show.


Glengarry Glen Ross (Playhouse Theatre)

David Mamet’s sharp satirical play about real estate and the men who follow leads to coerce the lesser-off to spend money they don’t have on plots of land has a timely revival in the West End, this time under the direction of Sam Yates.

It’s an economical but coarse play, with the earthy language you might expect from cut-throat business conducted in restaurants or across kitchen tables furnished with shop-bought cakes masquerading as home-baked.

ggr1

Act One is set in a Chinese restaurant in Chicago, as we watch conversations between three pairings, introducing our core ensemble.

Shelly Levene (Stanley Townsend) was once a great salesman whose name always headed the firm’s results sheet, but he hasn’t delivered in a long while, and dud salesmen only get the dud leads; he tries to persuade office manager John Williamson (Kris Marshall) to help, but John is tough and hard, cynical and inflexible, and without the readies in advance he won’t give the old man a break.

Slightly later in the day, as the red lanterns start to give off a bit of light, and the sun outside sets, Dave Moss (Robert Glenister), a tough and jaded cookie, has a proposition for his more timid colleague, George Aaronow (Don Warrington), which moves from the theoretical to a practical plan to rob the firm and furnish the competition. George seems caught in a sophisticated trap as a supposed accessory.

And in the evening, confident and smug Richard Roma (Christian Slater) strikes up a chat with James Lingk (Daniel Ryan), a potential lead who can be played from the insecurities of his life to make a ‘wise’ investment.  Lingk, a man who probably has never taken a risk beyond taking off his coat on a mild day, is easily persuaded by sex talk and a concentration on his insecurities.

After a rather lengthy interval for a noisy set change, Act Two is set in the sprawling office in which the salesmen sweat for their closures and the chance to progress up the chalk board which records the money they make.

ggr2

Levene is full of an impossible deal he closed that morning, but the office has been robbed, and a cop is on site to tease out the culprit, which means each salesman gets their time out in the main room while others are under interrogation.  Roma has a visit from Lingk, who has slept on his decision and prompted by his cautious wife, wants out of his contract.  Tempers fray and unwise words are said.

Mamet’s gift in this play is in making the unlikeable likeable, and in making pauses, interjections, and profanities a natural part of character speech, making those characters believable.  Some actors work better with this than others; Marshall and Glenister are especially good, but Warrington’s accent wanders a bit and Townsend takes a while to warm to his part (but does well in Act Two).  I liked Slater’s outer calm which cracks in the office as he kicks the furniture, and his self-assuredness, but he doesn’t feel like a Hollywood star above the group of actors he is with; instead, he fits in without trying to snatch the attention.

Daniel Ryan is fine as Lingk, and Oliver Ryan makes the most of an investigator who clearly despises the salesmen and their setting.  The ending of the play, too, is a good one, and I’d forgotten it, having seen the film version some years ago and having missed the last stage revival.

Glengarry Glen Ross continues until the 3rd February 2018.

 


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