|
Storyline: Celie, a fourteen year old poor black girl in rural Georgia in
the early years of the twentieth century, considered ugly and already pregnant
twice, is married off to an abusive man who terrorizes all who
come near him. He demands a submission amounting to servitude, sends her
sister away and prohibits any contact. As the years progress, however, her
inner strength helps her persevere and overcome all obstacles. She develops
a sense of self worth, breaks free of her abusive "Mister," achieves success
and is reunited with her sister and her children.
The story is one that many
people already know from the novel, or the movie by Stephen Spielberg. Its
structure is such that it might seem predictable anyway. Here it is told so
clearly with characters so sharply defined that it catches your emotional
commitment anyway. Most of the audience knows exactly what is coming at key
points - especially the later half of the second act - but there are plenty
of handkerchiefs dabbing at teary eyes and cheeks as Celie achieves her
dreams. The score progresses through the decades of the story, reflecting
the musical styles early in the century, and from the roaring
twenties, the depression wracked thirties and into the post-war forties.
At the center of the piece
is the marvelous performance of LaChanze, who plays Celie from an early age
to nearly 60, with no noticeable assistance from makeup - just wig changes to
help her grey. (This seems to be a developing specialty for her, as she was
last seen in town in Dessa Rose
where she played the title character at age 16 and 80.) There are a number
of very strong performances from this cast including memorable Broadway
debuts for Felicia P. Fields as a woman who won't let her husband beat her
(the first act highlight "Hell No") and Elisabeth Withers-Mendes as the juke
joint singer whose affection is the key to Celie's emergent sense of self
worth. The men in the cast are no slouches either - Kingsley Leggs is a
frighteningly evil "Mister" and Brandon Victor Dixon is energetic,
especially in his comic duet with Fields, "Any Little Thing."
Broadway veteran designers
create a satisfying on-stage atmosphere. John Lee Beatty's sets and Paul
Tzewell's costumes are both well served by Brian MacDevitt's lighting. Linda
Twine conducts a full sounding orchestra of eighteen. The
orchestrations are by the legendary Jonathan Tunick and they utilize two
keyboards. Keyboards haven't been the strength of Tunick's work in the past,
but this time out there is a very good blend of electronically augmented
sound and the acoustic instruments. The entire package is first rate.
Music and lyrics by Brenda
Russell, Allee Willis and Stephen Bray. Book by Marsha Norman. Directed by
Gary Griffin. Choreographed by Donald Byrd. Musical direction by Linda
Twine. Orchestrations by Jonathan Tunick. Dance music arrangements by Daryl
Waters with additional arrangements by Joseph Joubert and incidental music
arrangements by Kevin Stites. Design: John Lee Beatty (set) Paul Tazewell
(costumes) Charles G. LaPointe (hair) Brian MacDevitt (lights) Jon Weston
(sound). Principal cast: James Brown III, Darlesia Cearcy, Carol Dennis,
Brandon Victor Dixon, Doug Eskew, Felicia P. Fields, Bahiyah Sayyed Gaines,
Zipporah G. Gatling, Kimberly Ann Harris, Chantylla Johnson, Graysan
Kingsberry, LaChanze, Kingsley Leggs, Krisha Marcano, Elisabeth
Withers-Mendes, JC Montgomery, Lou Myers, Nathaniel Stampley, Leon G. Thomas
III, Maia Nkenge Wilson, Virginia Ann Woodruff. |
