The Color Purple- Next Big Hit!

[Corine2]

Posted: 11/3/05 at 10:41am

I went to the Color Purple last night. The music is glorious and the singing and dancing brilliant.
La Chanze, took my breath away, especially in the second act.
All the women performers have voices to die for. It was a tear jerker but nearly perfect.
The sets, costumes and choreography were creative and exciting to watch.
Felicia P. Fields brought the house down in every single number. She has a beautiful voice and great acting ability, I was moved by her powerful performance.
Another standout was Elizabeth Withers-Mendes as Shug Avery. Her voice was beautiful and her acting stellar.
I loved LaChanze in the role, she blew me away.
The only flaw was not casting Norm Lewis in this production. Although Kingsley Leggs is a fine actor his solo was very disappointing and all I could do was picture Norm Lewis in that role.
For a second preview, The Color Purple was very strong. I was moved to tears.
Go and see it! I intend on seeing it a few more times.

Updated On: 11/4/05 at 10:41 AM

[Mamamia Sammy2]

Posted: 11/3/05 at 10:45am

Great review, Corine2!

[Corine2]

Posted: 11/3/05 at 11:21am

With some fine-tuning the show should be a hit.
I was moved. I just wish the men were as strong as the women in the Color Purple.
The women all shine!
They need stronger male singers. Norm Lewis would have been perfect.

[hushpuppy]

Posted: 11/3/05 at 12:07pm

I too was at last night's preview of The Color Purple and I must agree that the show is very, very good. It took me about 30 minutes to get comfortable listening to the dialect, but once the show pulls you in, you're hooked until the final curtain.

The book, of course, tells an extremely compelling story, spread out over several decades. As the characters grow frail on the outside they stronger on the inside, old wounds are healed, past transgressions are, if not forgotten, at least forgiven. I defy even the most heartless cynic not to shed a tear at the final scene of reconciliation and reunion.

The score, while staying true to the book, never breaks out with a truly stellar number. Several times during the evening, you expect the character to let loose with a big, Broadway-style song, but, with the notable exception of "What About Love", it never comes. Now there are two schools of thought on this: one is that you should not 'sell-out' and should keep the score faithful to the book. The other is that the audience needs to be given that big, splashy Broadway song they came to see. I remember reading that Michael Bennett hated 'What I Did For Love' because he felt it was just that sort of sell-out number, but his fellow collaborators convinced him that, after sitting on their butts for 90-minutes, the audience expects a pay-off. (One wonders if A Chorus Line would've been such a smash hit if the song had been either omitted or sung in a quieter way). Call me a sell-out, but I missed a big, eleven o’clock number.

As previously mentioned, the performances are all superb. Although the women are given the meatier roles, I felt the men to be equally convincing.

Being white, I've always been a bit bemused by the apparent need for predominately white audiences to leap to their feet as soon as the curtain falls on a 'non-white' show. I first noticed it thirty years ago when seeing The Wiz and later with Ain't Misbehavin'. The audience seemed as if they wanted to show the actors (and each other, presumably) how Liberal they were and how much they ‘got-it’ by jumping up and cheering wildly. All through the show last night, I was struck by how mild (some might say tepid) the audience response was during the performance. The applause was polite but not what I would call enthusiastic, up until the final curtain when everyone immediately stood up and cheered. Now, over the past decades, a standing ovation has become mandatory in the USA , so it's hard to figure out if the audience really felt the production deserved one (I did), they stood out of a sense of desire to prove their Liberal credentials, or if they stood just out of habit (‘the show’s over Minerva, stand up’). A side note: La Chanze is given a full-out star's curtain call, the likes usually reserved for Broadway royalty such as Carol Channing or Bernadette Peters. While no mistaking she is the glue that holds the production together, her role is no means on a par with Dolly Levi or Madame Rose. I thought it even more interesting in that nowhere does her name appear above the tile, she is given only one solo number, yet at the curtain call, she is treated very much the star. (I dunno, maybe she has a really good agent). But as Corine2 correctly observed, her performance is remarkable, and her wildly enthusiastic reception during the curtain call is most deserved.

On the way home last night, I was taking the show apart and putting it back together in my mind. While I agree that the show needs some work (it lagged a bit in Act I and the 'Africa' number in Act II went on too long for me), the total is far greater than the sum of the parts. This is an immensely satisfying piece of musical theatre that succeeds on many levels; visually, emotionally, and even spiritually. I highly recommend it.

[SueleenGay]

Posted: 11/3/05 at 12:22pm

Corine's review reminded me of these great letters from kids who attended an Opera production and wrote the cast the following letters. Too cute:


Dear Nemorino:
* Your performance was good and you have a lot of talent. So thank you for being able to entertain yourself and me. -- Brian

* I just love opera shows -- it was just fun and amazing. I wish there was a real love potion in this real world. -- Moses

* I think it was nice that Nemorino would do anything for his true love! -- Frank

* I like the way you were singing because you moved with your singing. You dinn't (sic) mess up. You also sounded nice and clear. I could hear you very good even though I was in the back of the theatre. -- Fatai

Dear Dr. Dulcamara:
* Whoever casted you for this character was brilliant because you portrayed Dr. Dulcamara very well. -- Mike

* I liked your puffy hair which is orange like mine. -- Timmy

Dear Belcore:
* I liked your performance because you really put your emotions into your acting, just like an actor should. -- Adam

* I'm writing to you because I like you best. You had a great voice. It sounded like my cello on the C string. -- Bryn

* I like your character. Your singing was loud and confusing, but funny. -- your new fan, Jonathan

* Was it weird wearing tights? -- Diana

Dear Adina:
* I think you were marvelous, you had the voice, too. Did you enjoy working with Nemorino, Sergeant Belcore and Dr.Dulcamara? It must be lots of work. -- Maricarmen

* I liked how you tried to make Nemorino jealous. Also how you're just your own woman. That's why I liked your character.--Maribel
* You touched me, and I hope one day I can grow up a great actor, like you. --Therese

* I want to know why you agreed marry Belcore? And why you treated Nemorino like you did? I think you are very pretty and smart. I also think that you and Nemorino are a great couple! Belcore didn't really want to marry. -- Arianna

* I really thought you were perfect. To me you sounded like an angel. -- Deanne

Dear Set Designer:
* I really thought the revolving door backdrop was extremely clever, but my very favorite were Dr. Dulcamara's hidden bottles of elixir! Seeing this production makes me anxious to see a full-length opera. -- Felicia

Dear Cast Members:
* I really enjoyed the opera thought it was not only funny at times but romantic as well (the title, duh). I remember when I used to be in the school choir and it was tough to land some of those notes at the right time. You guys must be very talented. -- David

*The singing was awesome! I don't know if you saw me but I was the short kid with a navy blue sweater and glasses. -- Trey

[robbiej]

Posted: 11/3/05 at 4:35pm

Those letters are TOO TOO cute! Adorable...and well written for little kids!

[WiCkEDrOcKS]

Posted: 11/3/05 at 4:40pm

I havent heard about a show on here in a long while that has gotten rave reviews, negative reviews and just about nothing in between. I still cannot wait to see this show as my parents (the toughest theater critics I know) said it was incredible.

[iflitifloat]

Posted: 11/3/05 at 5:03pm

I think that a show can have problems, and still be enjoyable. I agree with much of what was written in other CoP threads. Munk's analysis, in particular was pretty fair and accurate...if a little more critical than I am prepared to be. The show needs a good bit of editing, and playing fast and loose with Mister at the end pretty much pissed me off.

But the bottom line remains that I was entertained, sniffled a little in a couple of spots, and had a good time being there.

[WiCkEDrOcKS]

Posted: 11/3/05 at 6:17pm

How was "The Color Purple" (the song) which I believe is the shows finale. I heard it was the best number in the show.

[munkustrap178]

Posted: 11/3/05 at 6:25pm

It is the best number in the show, but that's not saying much of anything.

"The Color Purple" first appears in the beginning of Act Two - sung to Celie by Shug. They then reprise it for the finale. The song isn't good enough to end the show, IMO.

You know, I was just thinking about adaptations and how they can either do the material justice, or just the opposite.

With films like A HOME AT THE END OF THE WORLD and MIDNIGHT IN THE GARDEN OF GOOD AND EVIL and TRAINSPOTTING completely bastardizing their original material, I almost wish that no one had touched THE COLOR PURPLE.

On the other hand, the film versions of TO KILL A MOCKINGBIRD, GONE WITH THE WIND, THE COLOR PURPLE (among others) didn't necessarily improve the original material, but brilliantly rose to the occasion.

It's things like THE COLOR PURPLE musical that make me fear for when J.D. Salinger dies and he no longer has control to the rights of A CATCHER IN THE RYE. I don't think I could bear to see anyone make a movie out of it.

[TheEnchantedHunter]

Posted: 11/3/05 at 6:46pm

>>The score, while staying true to the book, never breaks out with a truly stellar number. Several times during the evening, you expect the character to let loose with a big, Broadway-style song, but, with the notable exception of "What About Love", it never comes. Now there are two schools of thought on this: one is that you should not 'sell-out' and should keep the score faithful to the book. The other is that the audience needs to be given that big, splashy Broadway song they came to see. I remember reading that Michael Bennett hated 'What I Did For Love' because he felt it was just that sort of sell-out number, but his fellow collaborators convinced him that, after sitting on their butts for 90-minutes, the audience expects a pay-off. (One wonders if A Chorus Line would've been such a smash hit if the song had been either omitted or sung in a quieter way). Call me a sell-out, but I missed a big, eleven o’clock number.<<

You're confusing the issue, hushpuppy. It has nothing to do with selling-out with the 'big tune,' it's about quality and distinction and conveying certain emotional states through sound in fresh and inevitable ways. Being 'faithful to the book' and engaging the senses with memorable songs are not and never have been mutually exclusive: Rodgers and Hammerstein, for example, were adept at both. This is achieved by crafting dramatically relevant songs with strongly-contoured melodies and appropriate lyrics that accomplish the job and transcend the footlights, as it were. THE COLOR PURPLE (from most of the score I have heard) does not even begin to do that. Its score is generic, derivative and unmemorable--hence, its musical/emotional impact is negligible. No big tunes required, just plain ole' songwriting talent.

Mayella Ewell
Maycomb, Alabama



Updated On: 11/3/05 at 06:46 PM

[Avigdor]

Posted: 11/3/05 at 7:57pm

I found the color purple padantic and remedial in both lyrics and score. the acting was fine enough but the evening never really seemed to move the audience. i am sure i am being overly critical and thats ok.its only my opinion and i am glad audiences are seeing it and enjoying it.

[FindingNamo]

Posted: 11/3/05 at 9:45pm

The word "stellar" appears a lot in Corine's posts and at least one other. Is "stellar" the new "it" word? Could "stellar" be a more amazing "amazing?"

[SueleenGay]

Posted: 11/4/05 at 2:22am

It sounds pretty solid to me.

[twogaab2]

Posted: 11/4/05 at 9:47am

I'm not sure how well it will do. The audience seemed to like it. But let's face it-that generally means nothing.

[BroadwayRandy0711]

Posted: 11/4/05 at 9:55am

I am still excited to see The Color Purple. After reading everyone's reviews I hope that all the little snags are evened out. I am sure they will be. December can not come soon enough.

[FindingNamo]

Posted: 11/4/05 at 10:29am

It sounds stellar.

[Corine2]

Posted: 11/4/05 at 10:31am

Namo,
You are truly scrumptious!

[hushpuppy]

Posted: 11/4/05 at 10:46am

Myella,
Thank you for your thoughtful insight. Your points are well taken. Thinking back on R&H as you suggest, I can think of many songs ('Something Wonderful', 'This Nearly Was Mine') that were not big production numbers but were emotionally captivating nonetheless. While watching The Color Purple I kept waiting for that 'big number' to transport me to the next level. I never really thought it might be because the song itself may be lacking, it just assumed it was the fact that the director never saw fit to 'unleash' a song and let it soar. To go back to A Chorus Line, 'What I Did for Love' starts out as a solo, tenderly sung by Morales and turns into The Big Broadway Number. Would the show have remained 'purer' if the song had remained a solo and not have the whole cast join in? Yes, I think so. Would we, the audience, have been as satisfied if the song had remained a solo? Probably not. But you have caused me to think more deeply about the quality of the score in TCP and now I wonder if it would just be putting lipstick on a pig to turn a mediocre song into a Big Broadway Number. Thanks for getting the creative thoughts flowing.