Something I Said-Tony Kushner’s Caroline, Or Change — The Magnificent Mammy

Something I Said-Tony Kushner’s Caroline, Or Change — The Magnificent Mammy


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Home Page > News and Society > Something I Said-Tony Kushner’s Caroline, Or Change — The Magnificent Mammy

Something I Said-Tony Kushner’s Caroline, Or Change — The Magnificent Mammy

Posted: Mar 14, 2010 |Comments: 0
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Something I Said
Caroline Or Change
Dwight Hobbes
MN Spokesman-Recorder archives So, this is how we honor the death of 14-year-old Emmet Till, savagely beaten, an eye gouged out, before he was shot through the head and thrown into the Tallahatchie River with a 70-pound cotton gin fan tied to his body with barbed wire – for the youthful mischief of whistling at white woman. This is how we respect the memory of activist Medgar Evers, shot in the back walking up the driveway to come home to his wife and three children. This is how we honor four Birmingham, Alabama girls who, while worshiping at church, were bombed into the next life by the Ku Klux Klan. A generation fought for civil rights, struggled to be treated like human beings, refused to be denied education and the right to vote with the brave and the innocent dying cruel deaths. It is honored as the backdrop for some privileged playwright entertaining audiences with his ersatz saga at the Guthrie Theater, Caroline, or Change, which may as well have been titled The Magnificent Mammy. Caroline Thibodeaux, a Southern Jewish family’s maid, is the lead character in this plotless fluff by Tony Kushner (book and lyrics) that barely stops short of amounting to a contemporary coonshow. Right off the bat, singing as she washes and dries clothes in the basement, Caroline is accompanied by, of all things, an animated, spiritedly singing washer, dryer (cloned from Teen Angel in Dreamgirls) and radio. Bad enough, but the radio is represented by three women in snug, hot pink, shake-and-shimmy dresses, rolling their hips, jutting out their butts – every time they perform a number. It’s not the least bit surprising when we learn how Caroline came to be a single mom. She had to get a divorce because – okay, everybody say – her husband, what else, drank like a fish and beat her like she was Job’s mule. The requisite, cliché heartwarming tug comes with Caroline having befriended the family’s young son, helping the grade-schooler sneak a smoke and thereby standing as his rock of Gibraltar. Naturally, the closest thing she has to a worthwhile black man is daydreaming of Nat King Cole. This romanticized stereotype debases the heart and soul that kept maids and laundry women getting up each day to work their hands raw looking after their families (many of which actually included husbands who never raised a hand to them, whether they drank or not). These mothers and wives dealing with day-in, day-out drudgery were about a great deal more than this script’s dilemma of whether Caroline was given whatever change was left in the absent-minded kid’s pants pockets. It’s a galling insult that the climax arrives with our heretofore honorably heroine turning petty enough to appropriate a -bill from the child’s pants, argue with him over it, give it back and, then, walk off the job in a self-righteous huff, depriving her family of a living because of a spat with a little boy. Don’t worry, though, the ace up Kushner’s sleeve is that, after Caroline goes to church, we get to speculate that God intervened and got her job back for her (there’s no other way to explain the happily-ever-after-ending). One more slap in the face comes with the closing number’s smarmy bilge about succeeding generations being “children of Caroline Thibodeaux”. The Ordway Center had The Color Purple this season, so, artistic director Joe Dowling had to have The Guthrie Theater step up with its own Lawd-them-coloreds-sure-can-sing production. In fact, sing they do, a phenomenally gifted cast (the white performers acquit themselves admirably as well) doing Janine Tesori’s splendid music fine justice. It’s just a shame Kushner’s there, palming off a slick, bald-faced travesty as homage to an era’s valiant women who stood as a cornerstone in black communities during a tragic time.

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About the Author:

Twin Cities Daily Planet articles archived at www.tcdailyplanet.net/profiles/dwight-hobbes. Dwight Hobbes has written for ESSENCE, Reader’s Digest, Washington Post, Minneapolis Star Tribune, St. Paul Pioneer Press, City Pages, Mpls/St. Paul, MN Law & Politics, Pulse of the Twin Cities, Twin Cities Daily Planet, Women & Word, San Diego Union-Tribune and Minnesota Spokesman-Recorder (where he contributes the commentary column Something I Said). He’s spoken his mind over National Public Radio, Minnesota Public Radio, Blog Talk Radio’s UNOBSTRUCTED and KMOJ in Minneapolis and St. Paul. Was regularly featured as guest commentator on NewsNight Minnesota (KTCA-Minneapolis/St. Paul) and Spectator (Minneapolis Television Network). His monthly column “Hobbes In The House” in MN Spokesman Recorder speaks to domestic abuse and rape. His plays are Shelter – produced at Mixed Blood Theatre by Pangea World Theater, Dues – produced by Mixed Blood Theatre, University of Southern Illinois in Point of Revue, selected for Bedlam Theatre’s 10-Minute Play Festival and published by Playscripts, Inc. You Can’t Always Sometimes Never Tell – produced by Theater Center Philadelphia, Long Island University, reading at The Kennedy Center and published in the anthology CENTER STAGE, In the Midst – produced by Long Island University, starring Samuel E. Wright. Hobbes spoke on the panel “Farewell To August Wilson” at the Guthrie Theater, broadcast on Conversations With Al McFarlane (KFAI, KMOJ). Singer-songwriter Dwight Hobbes recorded the single “Atlanta Children” (BeatBad Records) and gigged 10 years in the Long Island/NYC area, including The Other End, Kenny’s Castaways and My Fathers Place. He fronted the Boston blues band Midlight. In Minneapolis, Hobbes opened for David Daniels at First Street Entry, James Curry at Terminal Bar, sat in with Yohannes Tona, Alicia Wiley at Sol Testimony’s Soul Jam, The New Congress at Babalu, Willie Murphy at the Viking Bar and Wain McFarlane & Jahz at Lucille’s Kitchen. Dwight Hobbes still drops in at the occasional open mic around town. www.myspace.com/dwighthobbesmusic

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Source:  http://www.articlesbase.com/news-and-society-articles/something-i-saidtony-kushner039s-caroline-or-change-the-magnificent-mammy-1985381.html

Article Tags:
dwight hobbes, caroline or change, tony kushner, joe dowling, the guthrie theater

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Twin Cities Daily Planet articles archived at www.tcdailyplanet.net/profiles/dwight-hobbes. Dwight Hobbes has written for ESSENCE, Reader’s Digest, Washington Post, Minneapolis Star Tribune, St. Paul Pioneer Press, City Pages, Mpls/St. Paul, MN Law & Politics, Pulse of the Twin Cities, Twin Cities Daily Planet, Women & Word, San Diego Union-Tribune and Minnesota Spokesman-Recorder (where he contributes the commentary column Something I Said). He’s spoken his mind over National Public Radio, Minnesota Public Radio, Blog Talk Radio’s UNOBSTRUCTED and KMOJ in Minneapolis and St. Paul. Was regularly featured as guest commentator on NewsNight Minnesota (KTCA-Minneapolis/St. Paul) and Spectator (Minneapolis Television Network). His monthly column “Hobbes In The House” in MN Spokesman Recorder speaks to domestic abuse and rape. His plays are Shelter – produced at Mixed Blood Theatre by Pangea World Theater, Dues – produced by Mixed Blood Theatre, University of Southern Illinois in Point of Revue, selected for Bedlam Theatre’s 10-Minute Play Festival and published by Playscripts, Inc. You Can’t Always Sometimes Never Tell – produced by Theater Center Philadelphia, Long Island University, reading at The Kennedy Center and published in the anthology CENTER STAGE, In the Midst – produced by Long Island University, starring Samuel E. Wright. Hobbes spoke on the panel “Farewell To August Wilson” at the Guthrie Theater, broadcast on Conversations With Al McFarlane (KFAI, KMOJ). Singer-songwriter Dwight Hobbes recorded the single “Atlanta Children” (BeatBad Records) and gigged 10 years in the Long Island/NYC area, including The Other End, Kenny’s Castaways and My Fathers Place. He fronted the Boston blues band Midlight. In Minneapolis, Hobbes opened for David Daniels at First Street Entry, James Curry at Terminal Bar, sat in with Yohannes Tona, Alicia Wiley at Sol Testimony’s Soul Jam, The New Congress at Babalu, Willie Murphy at the Viking Bar and Wain McFarlane & Jahz at Lucille’s Kitchen. Dwight Hobbes still drops in at the occasional open mic around town. www.myspace.com/dwighthobbesmusic