The Color Purple, the musical, Signature Theatre, Arlington, VA

 





I haven’t read The Color Purple, Alice Walker’s Pulitzer Prize-winning 1982 novel. It has been (and continues to be) the subject of much book-banning for a variety of reasons, including violence, language, drugs, and sexuality. I saw the 1985 film by Steven Spielberg when it was released; only vague images remain in my memory. I did not see either the 2005 original or 2015 revival of the musical version of The Color Purple, so this was as close to a brand-new experience as possible. When I learned that the remarkably talented Nova Y. Payton would take the starring role of Celie in the production at Arlington’s Signature Theatre, I was quick to purchase my ticket. (A film version of the musical is planned.)

The plot follows Celie from the age of 14, abused and pregnant with her father’s child, as she marries a brutal man called Mister, who continues her abuse. Celie’s only comfort is her relationship with her sister, Nettie. When Mister attempts to assault Nettie, Nettie leaves. Unknown to Celie, Nettie goes to Africa as a missionary and writes Celie often. Celie remains unaware because Mister hides the letters.

Celie’s world includes her feisty friend Sofia, who marries Mister’s son Harpo. Celie also meets jazz singer Shug Avery, Mister’s sometimes-mistress. When Shug falls ill, Celie nurses Shug. They develop a tender relationship that eventually becomes sexual. Shug discovers Nettie’s letters and shares them with Celie. Finally, Celie leaves her abusive husband to be with Shug, putting Mister under a curse.

Later, Celie inherits her childhood home and learns that the man she believed to be her father was her stepfather, who gave Celie’s two babies to a minister and his wife. Mister undergoes changes in his life (Celie's curse worked!). Now he regrets his treatment of her and asks for a reconciliation. Celie now calls Mister by his given name, Albert, but keeps him at a distance. Celie is ultimately reunited with Nettie, who returns from Africa with the two children who were adopted by the couple Nettie had joined to do missionary work overseas.

The Color Purple is often difficult to watch because of its honest depictions of violence and abuse. On the surface, it seems an unlikely choice for musical adaptation, but its depiction of Celie’s self-actualization and reunion with her children and her sister makes for a triumphant finale.

The book for the musical is by Marsha Norman and the score by Brenda Russell, Allee Willis, and Stephen Bray. The music ranges from gospel (we are literally taken to church), to jazz, to blues, to comic numbers (Sofia’s “Hell No!”), and a triumphant anthem (“I’m Here”).

Signature Theatre productions always include outstanding production values, inventive design, and exceptional musicians. The flexible Max theatre space provides an intimate audience experience no matter how the relationship between the stage and the audience is arranged. In this instance, the set occupies about one third of the space shoved into one corner, with the audience on three sides. 

The set (designed by Tony Cisek) looks like weathered boards, its gray color providing an appropriate background, until a touch of color (can you guess which?) appears at the ending. Similarly, the costumes (by Kara Harmon) begin with a dull palette of earth tones, evolving into vivid colors by the end as Celie comes into her own. Peter Maradudin provides evocative lighting design, especially when the boards of the set’s walls turn into Venetian blinds, allowing us a glimpse of action that takes place offstage. Ryan Hickey’s sound design was mostly effective, but there were times when the orchestra of eight (conducted by Angie Benson) sounded like a much larger group, overpowering some of the singers or making it difficult to understand some of the challenging lyrics.

Frenchie Davis as Sofia creates a vivid character and provides one of the play’s highlights in her fierce rendition of “Hell No!” Her relationship with Harpo (played by Solomon Parker III) provided a funny, light, sexy touch as well as dramatic moments. Mr. Parker’s lithe movements and his energy were engaging and endearing. The two actors are excellent partners for each other.

Danielle J. Summons as Shug Avery is by turns slinky, slutty, sincere, and supportive. She particularly shines in the title song, in which she imparts her unique understanding of God to Celie. Torrey Linder as Mister is appropriately repulsive and then repentant, especially strong vocally during “Mister’s Song,” in which we get a glimpse of what has made him the man that he is. Kayla Gross as Nettie and Temidayo Amay as Squeak also find their moments to shine.

As usual at Signature, the entire ensemble is consistently strong. Every member of the ensemble is committed to the work. Timothy Douglas directs the talented cast, keeping them focused and disciplined. Dane Figueroa Edidi uses a variety of dance styles to keep the story moving. Mark G. Meadows provides music direction.

But the night belongs to Nova Y. Payton as Celie. I have seen Ms. Payton in several performances at Signature and other DC area venues. She is always eminently watchable and, especially, listenable. (I had goosebumps watching her in Ragtime at Ford’s several years ago.) Celie’s weariness, pain, and shame weigh heavily on her in early scenes, brightening only when she is with Nettie. Her shoulders down, she seems to want to take up as little space as possible. When Celie finally confronts Mister, Ms. Payton does it with such power and conviction that you understand just how far this woman has been pushed and the resulting rage within her. Her transition to belief in herself is considerable. No longer is she trying to take up little space; her reach is expansive. Ms. Payton’s range and the suppleness of her voice suit each note perfectly. Hers is a bravura performance that will be long remembered by many who see it.

Yes, there is painful content in The Color Purple, but painful content can illuminate painful truths. Confronting evil makes it possible to triumph over it, as Celie finally does. If Celie can endure and overcome, anything is possible.   

The production continues at Signature Theatre through October 9. Discounted tickets are available as part of Washington's TheatreWeek (https://theatreweek.org/). Follow this link to a taste of this excellent production: https://www.youtube.com/watch?v=q4iqucHbIFY

 

 

 

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