THE COLOR PURPLE Previews — Page 6

Blactor said: "Yes, different cultures do react to theatre in different ways. On the whole, serious theater-going is NOT a part of Black American culture, unless a touring "Chitlin' Circuit" show comes to town. They simply don't have years of experience and education as far as etiquette. Of course, I stress that this is speaking in generalities (although it should be quite obvious).
 

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You are extremely ignorant, and I feel sorry for you.

EDIT: Obviously I'm the ignorant one and let my personal experiences form my own personal bias.  And ignore history. My apologies to everyone.  Lesson learned!

Updated On: 11/19/15 at 11:11 AM

What a horrible story. I'm glad someone from the ticketing service got back to you.  If it had been me, I would have promptly left the theatre the minute her threats started, gone to the theatre manager and refused to budge until the police were called. In this day and age, that is likely the only way a real threat will get any attention.

The fact that you stayed in your seat and were willing to return for Act 2 perhaps is indicative that you didn't really fear any true bodily harm despite her threats (it also likely indicated so much to the theatre staff) but sorry you were harassed so.  I hope they give you a ticket to return. Ask for a private box next time.

Blactor said: "promisespromises2 said: You are extremely ignorant, and I feel sorry for you.

Ok, Master, who has more to offer in this discussion--you, or an African-American performer who has spent more than 30 years interacting with and living among and performing before people from his own demographic? Who is more ignorant, some guy insulting me on a message board, or a guy who's observed exactly the kind of behavior that is being discussed for DECADES? 

Sorry if it offends your sensibilities, and I know we're not allowed to say anything bad about Black people ever because then we're "racist", but sharing observations based on consistent patterns of behavior is not the same as hating someone or treating them different because of their race, and it is far from ignorant.

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Well one, I am not a man.  Two, do not call me master.  And three, the way you worded everything in your post made me cringe, and that is why I posted what I did.  If you don't mind, though, I would like to hear your thoughts (and where you perform, and such).  I guess I am coming from a limited view (the people who I attend theatre with are all African-American and have been attending theatre for MUCH longer than I have… it's been a tradition in their family for a long time).  You definitely do have more experience, obviously, in audience-types.

I hope you guys will understand if I stay out of the race debate. I don't think that race is the problem here. I think it's a matter of being "carefully taught" how to behave. 

I waited last night outside door but were too many people for me. will retry.

Saw The Color Purple revival last night for the first time on Broadway. It was the fourth preview. I am thrilled to report I give it an "A-" at this moment, and it is in fine form, most succinct storytelling of book to Broadway yet and the song styling has never been more understandable.

The solid: Cynthia Erivo is a revelation to Broadway; her I AM HERE and her acting soar and take you with her. Jennifer Hudson is finding her organic, human Shug Avery and I'm delighted by the sexuality she leads the audience in, as she sings PUSH THE BUTTON. I don't have the Playbill in hand but the actors playing Netti, Harpo + Mister are strong strong performers, and took me places with the story I had never been. 

The slow: The chairs are overused, even as I get them as an anchoring device by Director John Doyle. The Georgia earth's dusty rose clay connects from the set, and yet I want better moment with the chairs, and actors in general. While I don't miss the dance numbers in this revival I do want stronger movement and flow.

I went to the stage door afterward the show with my group and it was too crowded to get close so we wandered on our way. The diversity of the audience I find beautiful, and the score (often ragged on here) remains remarkably musical and memorable. I admire Marsha Norman's book here in how she and the authors weave together a MASSIVE TALE into a digestible musical theater experience.

I will be back!

I attended the matinee today and wanted to give my impressions. First, the show, WOW! Basically, it's a "chick flick" writ large. The women suffer at the hands of evil men, and in the end the men reform. I guess that happens in real life, but not so often. But on the whole the show is incredible. The singing on that stage is amazing, and the acting is very moving. Erivo is just as incredible as everyone says she is. But the whole cast is talented and putting it all out there. Jennifer Hudson definitely holds her own. 

As far as the audience, I would say that everyone was on their best behavior. The ushers seemed to have stepped up their game, perhaps in response to the incident recounted on this board. They went up and down the aisles admonishing patrons to shut off cellphones. They used their flashlights to single out offenders. Despite this, of course a cellphone rang during a quiet portion of Act 2. And there was some talking in the audience and rustling of food wrappers. But the audience as a whole was very respectful and into the performances. 

I also enjoyed John Doyle's direction. I have decided that as long as he isn't making his actors carry around instruments and play them, I'm good to go. I will boycott any show that has actors playing instruments. I think that is a horrendous idea.

Rush details: My friend rushed for us this morning. She got there at 8:30. That was too late. She was No. 21 on line. When she got to the box office, she was told all the rush tickets were gone, and it's a two-show day. She was offered $59 orchestra seats, partial view, and she took them. We were seated all the way house right in Row M. The view was very good. I didn't feel I missed anything. The show is staged front and center.

I'm very happy to have seen the show and highly recommend it. As far as lead actress in a musical is concerned, Hamilton's competition is in the house!

Updated On: 11/14/15 at 07:41 PM

Yeeeeah, but really only with weak adaptations of famous source material. None of the negative feelings I have for Color Purple's writing as a musical cross over with many stage adaptations of other books I loved. Fun Home for instance, or Matilda. And I loved this production of Purple, for the record. The show just is not a very strong adaptation. 

Updated On: 11/14/15 at 08:21 PM

I AM talking about the quality of the writing, particularly the score, which (whether or not it strays in specifics to fit the medium) is related to how well it accomplishes what the story is meant to.  This is more literally similar to the  source material than Fun Home or Peter and The Starcatcher. I would call both of those better adaptations. Partially because they UNDERSTAND the source material's strengths better; mostly because they're simply better written shows.

Updated On: 11/14/15 at 08:35 PM

Saw the show this afternoon and I loved it.   I would say at times the book lacked in making one feel for the characters as the movie did but the show is in great form at this point and I would recommend it to all,   On another note, the audience was wonderful.   They gave a standing ovation after "I'm Here." and was respectful throughout.  

Sushi, I promise that the reason I find the material of this show (not the production) to be lacking is not because I am some rabid purist Color Purple fanboy, disappointed with any minute changes just because. I think it is a very poor adaptation. You did not pay attention to the content of my posts, but this show DOES stick to many plot details and structure, arguably even more than those two shows I mentioned as superior works of adaptation. Alice Walker was involved in making sure it met her content wishes. But it does not do it WELL, or with good craft. It just is not a very intelligent score, and the book is just passible. It does not acconplish ITS ambition. That is why I'm not crazy about the show. Marsha normally has her name attached to better stuff, but this happens a lot when a good artist is a cog in (what was originally) a giant musical machine with enormous business interests. The production does wonders in bringing it closer to the emotional potential of its source. 

Updated On: 11/14/15 at 11:02 PM

iluvtheatertrash said: "You're absolutely right, QueenAlice. I wasn't afraid for my safety IN the theatre, but for my safety OUT. They were a large group, and by their juvenile behavior they didn't seem the type to do something in public. Part of why I didn't return to my seat for the second act until the lights went down, and part of why I bolted from my seat when the lights went down at the END of each act too.

What I take more issue with than the threats, in all honesty, is the constant disruption (gleefully, too) of my experience and the staff's refusal to do anything about it. She most certainly wasn't only disturbing me, but at least 10-15 people around her as well. 

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Dude, you need to get a taser. The minute the disruptive woman started flappin' those gums just give a little BZZZZTTTTTT!!!!!! Problem solved. And when she came to, I bet she'd watch those flappin' gums because she knows she'd get checked again. BZZZZZZZZZTTTTTTTT!!!!! No more talkin' from Miss Run-Ya-Damn-Mouth-During-a-Show. Trust me. Works every time. My friend Tammy Lyn has one and every time she's used it at AMC 25 or AMC Magic Johnson: BZZZZZZZTTTTTTTT!!!!! Not another peep. Get one, dude.