This is what I wrote after seeing the second preview:
The score ranges from funk and rock to southern blues, and even a few Broadway-style ballads in there. Overall, the score is generally good, if not trite at some points. Many of the songs begin to sound like repeats - whether they are or aren't, I have no idea. The lyrics are your general run of the mill decent theatre lyrics. They're not Sondheim (or even Guettel,) but they're not like LITTLE WOMEN either.
The book is generally okay as well, capturing enough of the spirit of the original novel.
Before I get to the individual actors, I really need to say that this show just really doesn't work. There are some brilliant attempts made all around, but it just doesn't add up to much.
The show starts off with this bizzare, frazzled, pointless opening number - the lyrics are unintelligible, and people are just running around amuck onstage - it needs to go.
After the not-so-good opening, the show begins to take off - but never really quite reaches the level it needs to be at. Yes, it's only the second performance and yes, they have a month. But quite honestly, the show needs too much to be brilliant by the time it opens. This show would have worked better as a straight play.
From the beginning, Celie appears more independant and sure of herself than she should - certainly more confident than the Celie of the novel and the film. If Celie starts off too independant, she has no where to grow. Shug has nothing to teach her. When Mr. ___ tells her that she's ugly, and no one wants her, it is delivered (and received) as a joke. Is Celie really ugly, or are you just kidding around? It's obvious to anyone that knows the material that it is no joke. We are supposed to feel so deeply for this poor woman that by the time she makes her grand departure, we weep for her. The stakes aren't high enough from the very beginning - and if they're not - the entire story is a failure.
Mr. ___ is never quite as mean as he needs to be. None of the characters express pure fear of him, like they need to. From the very first time they meet, Celie looks like she could kick his ass.
One of my favorite scenes in the film is when Mr. ___ seperates Nettie from Celie and kicks her off his land. In the film, it is a monumentally difficult scene to watch - which it needs to be. The girls are violently weeping - not caring about the pain he's inflicting on them - all they care about is that they're together. In the musical, if you blink - you could miss it. It's executed in such a non-chalant "whatever, you guys saw the movie" way that the audience never quite sees the urgency and and utter love these girls have for each other. When Celie finds the letters at the end of act one, we almost have to remind ourselves that the point of the story is that she hasn't heard from her sister in all these years.
The love between Celie and Nettie is very apparant - and well executed- in the earlier scenes. But, as soon as they're forceably separated, it seems like a non-issue.
I could go through the show scene by scene, but really, the entire thing needs to be taken to the next level. My other favorite scene is when Celie decides to go to Memphis with Shug, leaving Mr. __ behind. When Celie finally tells him off, we're supposed to want to stand up, and cheer her on. In the film, I cry tears of absolute joy when she delivers those famous lines from the back of the car. Mr. ___ believes that Celie HAS put a curse on him - and it's apparant to the audience and him - maybe for the first time - that he NEEDS her in his life.
In the play, the scene is as flat as flat can be. I can't express enough disappointment.
Okay, enough blabber.
Bottom line: The stakes are not high enough. Nothing in this show seems important to anyone. It's quite evident that the director is making his Broadway debut here. The show is also about 30 minutes too long. The opening of Act 2 is an Africa sequence that - while entertaining for about 2 minutes - it's completely pointless and just wastes time.
I think everyone was hoping that La Chanze would make a triumphant Broadway return in this brilliant role - and I regret to inform you all that that is not happening. She is quite good - YES. Amazing, even - but this production is so misguided and scattered that the show's weaknesses outshine even the greatest performances.
Renee Elise Goldsberry is truly fantastic as Nettie, and succeeds in every way possible. Kinglsey Leggs does not do the role of Mr. ___ justice. Not at all. Completely lacking. Brandon Victor Dixon is serviceable as Harpo, and Felicia P. Fields is entertaining, but not quite rock-solid enough as Sofia. Elisabeth Withers-Mendes is positively enchanting as Shug - and succeeds brilliantly in bringing this bigger-than-life character to the stage.
John Lee Beatty's scenic design is absolutely gorgeous and Award-worthy, as are the costumes by Paul Tazewell and Brian MacDevitt's always reliable lighting. The show has an amazing look to it.
All in all, this show is in trouble. They have a month to get their act together - and I have my fingers crossed that they will do so - but I highly doubt that they will re-work everything that needs to be re-worked
"If you are going to do something, do it well. And leave something witchy."
-Charlie Manson
