New Stage Collective, a Cincinnati theater company that frequently tackles challenging and unique theater pieces, is once again eschewing traditional and safe choices with their latest production, the Broadway musical Caroline, Or Change. The material and the subject matter both have their share of complexities, but the rewards of this production are many: amazingly strong performances, praiseworthy direction and design, and one of the best orchestras heard in town in a long while help to bring this piece to life. The payoffs of the risks that New Stage continues to take have never been as evident as in this very satisfying production.

Caroline, Or Change is set in the last few months of 1963 in Lake Charles, Louisiana. Caroline is a "colored" maid for a middle-class Jewish family consisting of a ten year old boy (Noah), his emotionally absent father (Stuart), and new stepmom (Rose). Caroline has four children herself and they barely scrape by on the $30 a week she is paid. Rose tries to teach Noah to be responsible with his money. She insists that Caroline keep the change that she finds in Noah's pants when she does the laundry. This seemingly small act has a significant impact on everyone involved, especially Caroline.

The book by Pulitzer Prize and Tony Award winner (Angels in America) Tony Kushner shows off the writer's adept skill at switching back and forth between reality and fantasy (numerous inanimate objects - such as the washer, dryer, radio, bus, and moon - sing), and the characters are intriguing and well developed. Mr. Kushner also tackles multiple social issues associated with this turbulent time of change in America, including race relations, growing differences in religious and regional backgrounds, and the generation gap. As interesting a story as this is, the book is not without its weaknesses. The main characters are basically the same at the end of the show as they were at the beginning. This may be part of the point of the show (some people are unwilling or unable to change), but it's somewhat frustrating to see them go through so much just to end up basically back where they started. The characters may be better able to accept the changes around them, even if their own situations are unaltered, but most great shows chronicle people who either move or are moved to become something different. Act two tends to plod when the focus is off Caroline, and the thick story requires a great deal of recitative, which gets quite repetitive. Though the use of many of the inanimate objects to provide social commentary is well done for the most part, the Moon character is vague in its symbolism and seems like unnecessary filler.

Caroline, Or Change boasts a score with music by Jeanine Tesori (Violet, Thoroughly Modern Millie) and lyrics by Mr. Kushner. Ms. Tesori ably uses a number of musical styles, including early '60s rhythm & blues, traditional Jewish melodies, and spirituals. Kushner's lyrics are often poetic, and are multi-layered in their symbolism and structure. The opening sequence (including the catchy "16 Feet Beneath the Sea" and "I Got Four Kids") is especially strong in both music and lyrics. Other song highlights include "Gonna Pass Me A Law," "Roosevelt Petrucius Coleslaw" (which is a fine showcase for the child actors) and "Lot's Wife."

Alan Patrick Kenney, Director of Caroline and Artistic Director for New Stage, has done some of his best work to date with this show. His staging choices almost always enhance the storytelling, and his active blocking makes good use of the difficult performance space. His actors are extremely well invested in their roles and convey the piece's strong emotions and subtle humor. Choreographer Jennifer A. Martin's dances are a fine fit for the material, and Brian D. Hoffman does an extremely strong job leading an impressively large and talented 12-piece orchestra.

As Caroline, Taylore Mahogany Scott gives one of the best performances by a leading lady that Cincinnati audiences have seen in quite some time. She rivals and even surpasses Broadway Tony nominee Tonya Pinkins in the role in many respects. Ms. Scott's confident and colorful singing voice easily meets the difficult demands of the role vocally, including a powerhouse and technically sound delivery of "Lot's Wife." Her portrayal of this rough and mean woman who at times is unable to control the emotional torture she feels inside will be talked about for some time.

The entire 16 person cast does very well and seems well rehearsed. Steven Milloy is deliciously evil as the Dryer, and aptly sorrowful as the Bus. Aretta Baumgartner gets all of the required laughs without ever pushing too hard in playing the stressed out, trying-too-hard-to-please Rose. As the Moon, Chauntel Renee McKenzie displays refined grace and a beautiful singing voice. Connor M. Muething (Noah), Talibah Ashe (Emmie), Isaiah Reaves (Joe) and Antonio R. Davis (Jackie) acquit themselves well as the children in the show, especially vocally. The remaining ensemble consists of Cincinnati theater regulars and relative newcomers – Kay Brown, Burgess Byrd, Piper Davis, Sherry McCamley, Carla Nicole O'Neal, Brian Richardson, Jim Stump, Frederic Tacon – all with steady and strong performances.

Thomas J. McLaughlin's no-frills set is based in three separate areas on slightly different levels, and again makes good use of the challenging space. Jonathan Fuchs' lighting design is very professionally rendered, with dramatic uses of red to convey both the heat of the dryer and the blood referred to in some of the lyrics. Jim Stump's costumes are period and character appropriate.

Caroline, Or Change is an ambitious piece of theater, featuring a worthwhile, though not perfect, book and score. Though some may find the show mildly frustrating in its lack of a major change in the leading characters, it presents some fascinating people and situations at a tumultuous time in America. New Stage Collective in Cincinnati has set the bar high for similar theater companies in the area for this season. The excellent cast and all others involved should be proud of what has been accomplished with this production.

Visit www.newstagecollective.com or call (513) 621-3700 for tickets and more information. The musical continues through November 18, 2007.

-- Scott Cain

Also see the current Cincinnati Area Theatre Schedule