By John Lyle Belden

When you are the singular housekeeper working in the basement of a modest home, it can feel like your only friends are the new washer and dryer. The swish-swish of the laundry sings to you, a rhythm matched by the Motown backup singers on the radio.

This is the world of Caroline Thibodeaux in “Caroline, or Change,” presented by Footlite Musicals, directed by Bradley Alan Lowe. It is the Indiana premiere of this 2003 Broadway musical by Tony Kushner, with music by Jeanine Tesori, based on Kushner’s own childhood.

Caroline (Damaris Burgin), a Black single mother in Lake Charles, La., in 1963, is fortunate to have a job working for the Gellman family even though they can’t pay much. Their young son, Noah (Asher Ortman) has taken a liking to her, but mostly her companions are Washing Machine (Anya Andrews), Dryer (Markell Pipkins), and The Radio (Jada Radford, Nia Hughes and Vivian Husband). We also meet personifications of the Bus (Samuel McKanney) that brings her to this neighborhood and the Moon (Angela Manlove) that shines up above. But this is not “Beauty and the Beast” – the feeling is closer to “Driving Miss Daisy” but as a musical is almost entirely sung-through. Consider it like an opera for the domestic servant, with music that includes Gospel, R&B, and Jewish Klezmer refrains.

Noah has his own difficulties, as his mother died and his musician father Stuart (Phil Criswell) is remarried, to close family friend Rose (Emily Mae Gaddy), of which the boy does not approve. Also on hand are his Gellman grandparents (Dan Flahive and Gisele Dollinger).

Caroline rides the homeward bus with fellow domestic Dotty (Zarah Shejule). She shares her small home with daughters Emmie (Kaylee Johnson-Bradley), Jackie (Cairo Graves), and Jo (Praia Graves) – her son is with the Army in Vietnam.

Rose notices that, being a typically careless boy, Noah keeps leaving pocket change in his pants when they go into the laundry. She decides to teach him a lesson by announcing that whatever Caroline finds, she gets to keep. However, the boy then makes a point of leaving nickels, dimes, and quarters to see what happens. As for Caroline, the arrangement doesn’t feel right, but this small “raise” is making a big difference for her girls.

National events are naturally at the edge of this story. They are in a relatively quiet Southern city, but still hear news of JFK as well as the Civil Rights struggle elsewhere – also, the statue of a Confederate “hero” in the center of town has disappeared.

Things get more interesting with the Hannukah visit of Rose’s father. Mr. Stopnick (Graham Brinklow) is a liberal New Yorker who feels for what “Negroes” are going through, but wishes they would take a different approach than that of Martin Luther King Jr.

Performances are wonderful all around. Burgin is endearing yet tough as the title character. The limits of her pride are often tested as dealing with “change,” in any form, makes her stronger. Johnson-Bradley is fierce as Emmie, an impetuous youth finding her voice and place in the world she’s growing into. Ortman’s Noah is a likable kid who makes mistakes but means well, though he learns that not everything you say can be taken back.

The most complex role, next to Caroline, turns out to be Rose. Gaddy plays her as someone who realizes she is the “evil stepmother” in this tale and defies that by showing she does care in her own way. At first homesick for New York, she dedicates herself to the household and family she has chosen, including the boy she hopes one day with love her, and the proud Black woman she tries to understand.

Discover this unconventional look at some interesting people (and appliances). “Caroline, or Change” plays through March 16 at 1847 N. Alabama St., downtown Indianapolis. Get tickets at footlite.org.