JACK KNOWLES—LIGHTING DESIGN One of the most striking things from listening to Caroline, or Change for the first time is the journey that it goes on through changes in rhythm, style, and emotion. It instantly informs and guides the lighting, being something that the lighting dances with throughout every moment of the show.


This is a musical that uses a range of different techniques to communicate the nuances of the narrative to the audience. It flits between the dank reality of the damp, overheated basement in the middle of the swamp to the fantasy world that Caroline creates, bringing to life appliances and twisting the importance of key things in her life—such as the Moon. The lighting has been designed to echo these worlds and to guide the audience through them. Using clear languages that support the fantastical, bold colors and shapes accompanying the Radio, Dryer, and Washer in what is otherwise a world of muted pastel tones that exist in the basement. This allowed me to explore what each “character” was bringing—not only in what they say or their role in the narrative, but also the emotion they bring and the effect that they have on Caroline.


The whole process for the visual world of the musical has been a collaborative process. The world which Fly Davis has created through the set and costume design supports the boldness of the lighting, generating statements and giving room for the visual elements to work in sync. Working alongside Mike, the director, and Ann, the choreographer, we were able to explore how we could tell the narrative through various components and elements. In such an abstract design, the lighting adds clarity and supports the emotional journey of the characters and has been developed closely with the physical use of space in a really exciting way.


Set Model by Fly Davis for Caroline, or Change


PAUL ARDITTI—SOUND DESIGN I hope that when you visit us at Studio 54 for Caroline, or Change, you will enjoy what you hear as much as what you see. I want you to hear every word clearly (for this is the only inviolable rule for sound designers of musicals!) and appreciate how beautifully our 12 superb musicians deliver Jeanine Tesori’s intricately devised mix of rhythm and blues, classical, klezmer, Motown, and jazz. You may notice that our drummer and percussionist aren’t in view. They have a massive battery of instruments, including a drum kit, vibraphone, timpani, bells, Chinese opera gong, tam-tam, and a length of chain on a washboard—all of which are housed in a studio we have built in the theatre basement.


It’s my job to make the sound from this studio blend perfectly with the visible musicians on the platforms above the stage. I’m also responsible for designing the loudspeaker system in the auditorium so that every member of the audience can hear everything, no matter where they’re sitting. Sound system design is a bespoke task and varies hugely according to the architecture of the theatre and the nature of the show. I’m also responsible for hiding wireless microphones on all the actors— usually in their hair or wig. Our director, Michael Longhurst, has given me the additional unique challenge of Stuart’s clarinet. Is Stuart playing it for real, or is there some sound design magic involved? You decide. Finally, listen out for the sounds of Louisiana—the insects and frogs and the water. They will be all around you.•


CAROLINE, OR CHANGE UPSTAGE GUIDE


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