Nio Russell (left) as Celie and Hadiyyah Noelle as Shug in "The Color Purple." Photo by Jason Sullivan / Dupla Photography Thinking back, the only thing I remember vividly about the 1985 film adaptation of Alice Walker’s novel “The Color Purple” is the moment when Celie (Whoopi Goldberg) is shaving her abusive husband Mister (Danny Glover) with a straight razor and the will-she-or-won’t-she? tension encompassing it.
As to New Village Arts’ production of the 2005 musical adaptation of “The Color Purple” it’s not likely I’ll dismiss this so easily from my memory. The ambitious production is expertly directed by Kandace Crystal and choreographed by Alyssa “Ajay” Junious, and brightened by Leigh Scarritt’s musical direction and Janet Pitcher’s costume design. An outstanding cast performs with spirit, sincerity and, when appropriate to the tale, an ebullience that is surely felt in the confines of the Carlsbad theater. It’s true that the Stephen Spielberg-directed film softened the harsh realities and sexual frankness of Walker’s book, and with its own narrative departures the stage musical written by Marsha Norman does too. On the other hand, it adds a majestic, wonderfully costumed Africa scene (“African Homeland”) at the beginning of Act Two that could only be done faithfully in a theatrical setting. Brenda Russell, Allee Willlis and Stephen Bray collaborated on the music and lyrics of the stage adaptation, a filmed version of which directed by Blitz Bazawule was released last Christmas. Its most notable tunes are those written for dance-driven ensemble numbers: “Mysterious Ways,” “Big Dog,” “Brown Betty,” “Shug Avery Comin’ to Town,” “Miss Celie’s Pants,” et al. Among the others in the score, those assigned to the flamboyant Shug character (at NVA a terrific Hadiyyah Noelle) are highlights, whether it’s the provocative “Push da Button” or the heartfelt “Too Beautiful for Words.” The climactic and triumphant “I’m Here” from Celie affords the gifted Nio Russell the opportunity to demonstrate their vocal power – and they do. There’s a sung-through feel to “The Color Purple” musical, with the majority of its songs advancing the well-known story of a homely but kind-hearted Black teenager who is given by her sexually and verbally abusive father to a farmer, Albert (aka Mister), who will add violence and infidelity to this terrible equation. Celie’s only friend and ally, her sweet sister Nettie (Taylor Renee Henderson), is turned away by Mister after she rejects him. Over time and not hearing from her, Celie presumes Nettie is dead. Celie’s life changes and a sliver of happiness is hoped for with the arrival of worldly wise saloon singer Shug, who has also been Mister’s mistress. From here on out, with the help of Shug and the inspiration of fiery acquaintance Sofia (Eboni Muse), Celie gradually finds her dignity, her self-empowerment and her courage. Besides Russell’s and Noelle’s complex performances, this NVA staging boasts that evocative turn from Muse (one to cheer for) as well as Henderson’s sensitive portrayal of Nettie, Jasmine January’s comedic Squeak and the recurring entertainment that is the Church Lady chorus (January, Destiny Denny, Juanita Harris, Kiara Hudlin and Erin Vanderhyde Gross). On the evening I attended, understudy Zack King performed with ferocity the Mister role, as despicable a character as you’ll encounter in a story like this one, and made credible as possible his reclamation. As with its acclaimed production of Jez Butterworth’s “The Ferryman” last year, New Village admirably navigates with “The Color Purple” the challenge of a big show on a relatively compact stage. Plaudits especially to choreographer Junious. Cheers as well to NVA for telling important stories in song already in 2024: first Alison Bechel’s “Fun Home” and now “The Color Purple.” “The Color Purple” runs through July 21 at New Village Arts Theatre in Carlsbad.
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AuthorDavid L. Coddon is a Southern California theater critic. Archives
September 2024
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