Vocals shine in stripped-back 'The Color Purple'
By Noah Moore
There's so much power in The Color Purple. So much so, that often it gets hard to restrain, and even harder to perform eight times a week. But what likely gets the actors and the audiences through an often tragic story is the gorgeous heart and fluttery score--this production in Rochester, New York was no different. With soaring vocals and creative direction, Geva Theatre and Theatre Latté Da's co-production leapt off the stage and left me with tears in my eyes.
The Color Purple musical was first produced on Broadway in 2006, with a score by Brenda Russell, Allee Willis, Stephen Bray, and a book by Marsha Norman. The show, while equally beautiful, did not last long; however, in 2016, a certain Cynthia Erivo made her star turn in a critically-acclaimed, Tony-winning revival of the show. Since then, there has been some what of a re-emergence of this show across the nation.
The show follows Celie, an African-American woman who overcomes adversity in the early 20th century South. Through her relationships with strong women like Shug Avery and Sofia, Celie finds her voice and self-worth away from her abusive husband, Mister. The musical celebrates resilience, love, and the transformative power of female empowerment and solidarity.
Nubia Monks as Celie was a performance that stuck with me, conveying the deep pain and emotional stuntedness of her character with fierceness that exploded in the show's power ballad, 'I'm Here.' As Shug Avery, Angela Wildflower had a comforting presence and dynamic chemistry with Monks, as did Carnetha Anthony as Sofia. The two women characters served as a support base for Celie, and their bonds seemed authentic and made the show that much more endearing. Shug's 'Push Da Button' and Sofia's 'Hell No' were among the show's highlights.
This production specifically was clearly influenced by the 2016 revival with planked wood backdrops illuminated by uplighting, but also creatively uses the differing planks to create different scenes. From an underground bathtub to a dramatic wall movement that reveals a large tree, the set, by Eli Sherlock, was a marvel to behold. I also loved the colorful costumes, especially Celie's brilliant pants, by costume designer Jarrod Barnes.
The show's climax features an interesting dichotomy--reunion and peace coupled with forgiveness, even where undeserved. But such a contradiction allows for us to truly admire the main character Celie, and understand how her journey, however painful, charged her here to peace and taking a higher road. This show was a beautiful way to spend an evening, even if the story isn't easy to digest. That's what I love about theatre, anyway.
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