Theater Review: The Color Purple [Part II]

The Knockturnal went to see the revival production of The Color Purple on Broadway again with cast members new and old, and insists you see it before it closes January 8th, 2017.

If you follow The Knockturnal’s theater reviews, you might know how thoroughly we enjoyed the revival production of The Color Purple at the Bernard B. Jacobs Theater (242 W. 45th St.) during previews (you can brush up on the synopsis and original review here). This writer has been able to witness many different combinations of some of the originating performers, the understudies and newcomers to this revival, and can say that it’s certainly worth a try to experience Cynthia Erivo’s sensational Tony-winning Broadway debut before she graciously closes out the production early next year, but that the brilliance of this show is bigger than any one star and should be seen with any cast, as soon as possible.

It’s a well-known story that has been reincarnated many times over since Alice Walker’s National Book Award-winning novel of the same name was published in 1982. It has remained within the zeitgeist spanning more than three decades, from the Oscar-nominated and Golden Globe-winning film starring Whoopie Goldberg and Oprah Winfrey in 1985, to the original Broadway musical production in 2005 (and the many tours it spurned), and now this Tony-nominated Broadway revival. And yet, in today’s climate, this story set in 1930s Georgia couldn’t feel more necessary or relevant. It illustrates a young woman of color’s coming of age within a community steeped in segregation, misogyny and poverty, amidst unthinkable hardships and horrors, in a small town far different from the city where the musical is performed.

Broadway audiences have always been lucky to be able escape the chaos of their current reality in a safe space that encourages them to empathize with struggles that are different from their own—an experience that the Broadway community is known and revered for providing. Beyond that, the lyrics and melodic arrangements in this revival are so enjoyable and moving—the harmony work in particular is extremely intricate and satisfying.

Erivo’s Celie is a magnanimous heroine who overcomes early abuse and childhood pregnancy to explore her own true passions once she escapes from under the thumb of her controlling and toxic “Mister,” a union she only enters into in order to ensure her sister Nettie’s (currently played by Jennie Harney) safety and education. She is able to find and recognize her own voice, beauty, and vision for her future through the example of other strong women in her life, which is an uplifting and promising premise to help carry a rather challenging narrative.

First there’s Sofia, the mother of Celie’s stepson Harpo’s child (Sofia was originated by Orange is the New Black’s Danielle Brooks and is now portrayed by Carrie Compere, she received the audience’s fervent adulation after her rendition of the feminist battle cry “Hell No”). Her anthem helps the female characters defy the husbands who beat them, and she teaches Celie to question her circumstances and stand up for herself. And then there’s the elusive singer, and Mister’s ex-lover, Shug Avery (originated in this revival by Oscar-winner Jennifer Hudson, then expertly reimagined by Tony- and Grammy-winning Heather Headley—and is now, in a full-circle moment, portrayed by Jennifer Holliday, who won the Tony for originating the role of Effie White in Dream Girls, for which Hudson won her Oscar. This writer saw the role in Carla R. Stewart’s capable hands). Celie’s often unrequited love for and from Shug Avery ultimately allows her to find self-respect and validation from within.

Seeing this show during the holidays is also a wonderful opportunity to donate to Broadway Cares/Equity Fights AIDs with cash donations and the purchase of a new CD “Broadway’s Carols For A Cure: Volume 18.” The album features performances by every show running on Broadway. The cast of The Color Purple sings “O Come, O Come Emmanuel” featuring Bre Jackson, a regular Celie understudy and phenomenal Church Lady, and Kyle Scatcliffe, another audience favorite as Harpo. Scatcliffe is particularly endearing as the only male character in the show who recognizes and appreciates from the beginning that his Sofia will do what she wants (and in his opinion, so should any other woman), and though he struggles to honor his acceptance of her strength throughout the show, he finds his way back to her and is all-too happy to take the back seat.

There are certainly many other talented male performers that propel the story along and have amazing chemistry as a cast, but you can sense from the outset that they play second-fiddle to their female counterparts. When Erivo belts her 11 o’clock number “I’m Here,” she has to wind up her body in order to belt with an unfathomable amount of gusto from her compact frame, and it hits you with such evocative force. With the song’s message for women of all aesthetics, sizes, creeds and stations to stand proudly, take up space, and love themselves, it’s only fitting that it has inspired a social media plea from the cast to encourage attendees to post selfies with strangers among their fellow audience hashtagged #ImHere, in order to foster a growing sense of community in support of one another.

For tickets, visit colorpurple.com.

Image courtesy of Instagram @bwaycolorpurple.