When theater is important, relevant, and transforming, it addresses issues in society that people sometimes have a hard time discussing. When a topic that seems under addressed is raised, it can take the audience by surprise, but can also open people’s eyes. In “Caroline” by Preston Max Allen, playing at the MCC Theater (W. 51st Street), the audience is invited to see the world through the eyes of a trans youth and her mother. You see Caroline and her mother, Maddie, facing a world together, with Maddie doing her best to protect and support Caroline.
The relationships between the generations of mother and daughter are very different, with Caroline and Maddie shown as being quite close. Maddie is also very transparent with Caroline, admitting to the drug addiction she experienced when she was younger — an addiction that cost her her relationship with her own mother and father.
When her partner has a negative reaction to Caroline’s wanting to transition, a desperate Maddie has to seek refuge for both herself and Caroline at her parents’ home. This play deals with the fact that a trans youth can recognize from a young age — even as young as 9 or 10 years old — that they are not comfortable with their bodies.
This play also addresses how society has turned its back on these youth where, in some states, they are not allowed to take the hormones they need to transition and face prejudice when it comes to their involvement in sports and using public bathrooms. This topic is quite sensitive for people, but Allen handles it beautifully. He shows a relationship between a young mother with a troubled past and her daughter, and how well they look out for each other. Neither one judges the other, but instead does everything they can to support each other.
Watching the other mother/daughter relationship between Maddie and her mother Rhea, you see a relationship where bridges were definitely burned. As a teenage drug addict, Maddie stole from her parents, ran away, came back, apologized, and stole again. Her parents tried to put her in rehab, but to no avail. This production shows that situation from Maddie’s perspective of being tossed into a rehab facility and abandoned, and her mother Rhea’s perspective of Maddie using and betraying her family and not being able to prove that she could be a trusted and responsible adult.
This play is very deep. A lot of wounding has occurred, and when Maddie comes back with Caroline and asks for help, the wounds are still fresh. What one realizes by the end is that family is complicated and traumatic situations are never black and white; there are different shades of gray that exist as shown through each character’s perception of a given moment in time.
This play leaves you with food for thought, realizing that there should be support out there for trans youth, instead of a society that restricts their rights and closes off avenues that used to be open to them. These are young people who are just trying to see where they fit in and get to that place. It is not for anyone to judge them.
The three actors who inhabit this stage deliver absolutely stunning performances. River Lipe-Smith delivers a sterling performance as Caroline, giving their character dignity, intelligence, sensitivity, empathy, and respect. You clearly feel their realization that they and their mother are in this together, no matter what. They can appreciate her mother’s support, love, and complete acceptance of their choice to be a girl.
Chloe Grace Moretz delivers a dynamic performance as Maddie. She is a mother who has made mistakes in her past, but has been a responsible parent, drug-free for nine years. She is what some parents are — ready to humble herself and eat crow if that means giving her child a better life. The chemistry between these two actors is touching to watch.
Amy Landecker is brilliant as Maddie’s mother and Caroline’s grandmother. Her character has been burned once and depends on tough love to figure out the situation. The effortless, natural flow between these three actors is mesmerizing to behold.
David Cromer’s spot-on direction gives the audience the sense of watching this family maneuver through so many traumatic moments, and also helps viewers see the very real, human reactions that people can have in these difficult situations.
The production has a marvelous technical team that includes set design by Lee Jellinek, costume design by David Hyman, lighting design by Tyler Micoleau, and sound design by Christopher Darbassie.
It is important to have plays like this to get a conversation going on this topic. “Caroline” is sensitive, funny, and moving, and gives a voice to members of our society who are rarely heard and rarely have their situation championed.
For ticket information, visit https://mcctheater.org.