Caroline, or Change Cast Album Due in Stores June 29

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29 Jun 2004

Tonya Pinkins in the Title Role of <I>Caroline, or Change</I>
Tonya Pinkins in the Title Role of Caroline, or Change
Michal Daniel

Hollywood Records will release the two-disc original cast recording of the new Broadway musical Caroline, or Change June 29.

The album is Hollywood Records' first-ever Broadway musical release. The company of the Tony Kushner Jeanine Tesori show recorded the album April 26 in Manhattan.

Individual musical numbers in the show are not delineated in the Playbill — the score seamlessly bleeds from one sequence to the next, not always delivering "buttons" or conventional "numbers." The CDs break the score into 53 tracks. The CD package include Tony Kushner's libretto.

The track listings are:

Disc 1



1. 16 Feet Beneath the Sea - Caroline, The Washing Machine
2. The Radio - The Radio
3. Laundry Quintet - The Radio, Caroline, The Washing Machine
4. Noah Down the Stairs - Noah
5. The Cigarette - Caroline, Noah, The Washing Machine
6. Laundry Finish - The Radio
7. The Dryer - The Dryer, The Radio
8. I Got Four Kids - Caroline, The Dryer, The Washing Machine
9. Caroline, There's Extra Food - Rose, Caroline, Grandma Gellman , Grandpa Gellman, Noah
10. There is No God, Noah - Stuart
11. Rose Stopnick Can Cook - Grandma Gellman, Grandpa Gellman, Stuart, Rose, Caroline, Noah
12. Long Distance - Rose
13. Dotty and Caroline - Dotty, Caroline, The Moon
    14. Moon Change - The Moon
15. Moon Trio - The Moon, Dotty, Caroline
16. The Bus - The Bus
17. That Can't Be - Dotty, Caroline, The Moon
18. Noah and Rose - Noah, Rose
19. Inside/Outside - Moon, Noah, Rose
20. JFK - Grandma Gellman, Grandpa Gellman, Dotty, The Moon, Noah
21. Duets: No One Waitin' - The Radio, Emmie, Caroline
22. Duets: 'Night Mamma - Emmie
23. Duets: Gonna Pass Me a Law - Caroline, Noah
24. Duets: Noah Go to Sleep - Caroline, Noah
25. Noah Has a Problem - Caroline, Rose
26. Stuart and Noah - Stuart, Noah, Caroline
27. Quarter in the Bleach Cup - Noah, Caroline, The Washing Machine
28. Caroline Take My Money Home - Noah, Caroline, Emmie, Jackie, Joe
29. Roosevelt Petrucius Coleslaw - Noah, Emmie, Jackie, Joe, Caroline

Disc 2

1. Santa Comin' Caroline - The Radio, The Washing Machine
2. Little Reward - The Washing Machine, Caroline, The Radio
3. "1943" - Caroline, The Radio, The Washing Machine
4. Mr. Gellman's Shirt - Rose, Caroline
5. Ooh Child - The Washing Machine, The Radio
  6. Rose Recovers - Rose, Caroline, The Dryer
7. I Saw Three Ships - Jackie, Joe, Emmie, Caroline
8. The Chanukah Party - Stuart, Noah, Rose, Grandma Gellman, Grandpa Gellman, Mr. Stopnick
9. Dotty and Emmie - Dotty, Emmie, Caroline
    10. I Don't Want My Child to Hear That - Caroline, Mr. Stopnick, Grandma Gellman, Grandpa Gellman, Rose
11. Mr. Stopnick and Emmie - Emmie, Mr. Stopnick, Caroline, Rose
12. Kitchen Fight - Dotty, Emmie, Caroline
13. A Twenty Dollar Bill and Why - Mr. Stopnick, Rose, Noah, Grandma Gellman, Dotty
14. I Hate the Bus - Emmie
15. Moon, Emmie and Stuart Trio - Moon, Emmie, Stuart, Rose
16. The Twenty Dollar Bill - Noah, Rose, Mr. Stopnick, Grandpa Gellman, Grandma Gellman, The Washing Machine and Caroline
17. Caroline and Noah Fight - Noah, Caroline, The Dryer
18. Aftermath
19. Sunday Morning - Caroline, Dotty
20. Lot's Wife - Caroline
21. Salty Teardrops - The Radio
22. Why Does Our House Have a Basement? - Noah, Rose, The Washing Machine
23. Underwater - Caroline and Noah
24. Epilogue - Moon, Emmie, Jackie, Joe

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The recording is produced by composer Tesori , executive produced by Mitchell Leib, Glen Lajeski and Billy Rosenfield and associate produced by Michael Rafter.

Tony Award-nominated Caroline, or Change is directed by George C. Wolfe and continues at the Eugene O'Neill Theatre.

Caroline, or Change, the unique musical character study that explores the bittersweet world of a black maid in Civil Rights-era Louisiana, began its Broadway run April 12 at the Eugene O'Neill Theatre.

Tonya Pinkins again plays the title character, emotionally caught between the values of the white family she works for and the black community whose hopes are shifting in 1963 — the era of JFK, Martin Luther King and Motown.

The musical had its world premiere at The Public Theater in fall 2003, and played an extended run there to Feb. 1. Composer Tesori told Playbill On-Line some textual and orchestral refinements have been made leading toward Broadway and the recording.

The musical opened on Broadway May 2 and was Tony Award-nominated for Best Actress in a Musical (Pinkins), Best Featured Actress in a Musical (Anika Noni Rose, who won the Tony), Best Score, Best Book and Best Direction.

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Tesori previously told Playbill On-Line she doesn't concern herself with defining what the show is — "chamber musical," "opera," "musical play," are terms applied to the mostly-sung show.

"I just call it a piece of theatre," Tesori said. "Labels are difficult only in that then I think there's an expectation in going into see something. Labels, in a sense, are about comfort. We get caught in the language, understandably, because at this point you're trying to synthesize what is from what was. Many people have been searching for a term for it, and basically I've been saying, 'Go see it and experience it and don't worry about a name.' Someone will come up with something; they did for 'symphonic form.' [Definitions] tend to happen afterward. It's not something we honestly thought about when we were cooking it. We just kind of kept doing it, which was not how I usually work. It was a very scary and really exciting way to work."

The Broadway troupe is largely the same that played at Off Broadway's Public Theater: Reathel Bean, Harrison Chad, Tracy Nicole Chapman, David Costabile, Veanne Cox, Aisha de Haas, Marcus Carl Franklin, Marva Hicks, Capathia Jenkins, Larry Keith, Ramona Keller, Alice Playten, Anika Noni Rose, Leon Thomas III, Chandra Wilson and Chuck Cooper. Adriane Lenox is the standby for Pinkins.

According to production notes, "Caroline is the black maid of a Southern family, made up of a father, his new wife and the man's young son. The son's birth mother has recently died, and the stepmother is trying to establish a relationship with the child, who already has a close connection with Caroline. The title has a double meaning, referring to the myriad social changes swirling around the family and a family argument surrounding the spare change perpetually found in the boy's pants pockets."

The creative team includes Riccardo Hernández (set design), Paul Tazewell (costume design), Jules Fisher and Peggy Eisenhauer (lighting design), Jon Weston (sound design), Jeffrey Frank (hair design), Rick Bassett (orchestrator), Joseph Joubert (orchestrator), Buryl Red (orchestrator), Kimberly Grigsby (music supervisor), John Miller (music coordinator), Linda Twine (music director and conductor), Hope Clarke (choreographer).

The Caroline Company — the producing team — is comprised of Carole Shorenstein Hays, HBO Films, Jujamcyn Theaters, Freddy DeMann, Scott Rudin, Hendel/Morten/Wiesenfeld, Fox Theatricals/Manocherian/Bergère, Roger Berlind, Clear Channel Entertainment, Joan Cullman, Greg Holland/Scott Nederlander, Margo Lion, Daryl Roth, and Zollo/Sine in association with the Public Theater.

Tickets ($26-$101) are available through Telecharge.com online or by phone at (212) 239-6200.

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The work is somewhat inspired by a woman from Kushner's childhood. The first draft that he gave to Tesori was text in all lower-case.

"It's written, of course, in verse, but there were very few spaces," Tesori previously said of Kushner. "Physically, it was really quite something to read through because I'm so used to the distinction between the book of a piece and the lyrics and Tony defies that tradition. He said, 'I don't believe in upper-case, I don't know what that means.' He's tremendously careful about punctuation, he's just a caring and careful writer that way, in terms of language. We would discuss beats, ad nauseam, about what exactly we thought this character was going for and why there might be a stop here. It was a kind of directing. It was so...tedious and wonderful at the same time. I would have him read things to me a lot, so I could hear his intent, not as an actor but as a writer, and that I found tremendously helpful. I did that a lot with the actors. I had them read, read, read, so I could really find out. George did that a lot in the very beginning."