The Times is Mixed-to-Positive:
"TIME doesn't just fly in the exhaustingly eventful world of "The Color Purple," the musical adaptation of the Alice Walker novel and film of the same title that opened last night at the Broadway Theater. It threatens to break the sound barrier. In faithfully adapting Ms. Walker's incident-crammed 1982 Pulitzer Prizewinner about Southern black women finding their inner warriors, the show's creators have fashioned a bright, shiny and muscular storytelling machine that is above all built for speed.
So much plot, so many years, so many characters to cover in less than three hours. Or, as one of the many vibrant heroines sings, prettily papering over a gap of eight years, "So many winters gray and summers blue." From the brass-warmed opening bars of its eclectic overture, this musical has an on-your-mark, get-set quality that promises that pages will be flying off the calendar as if in a tornado.
Watching this beat-the-clock production summons the frustrations of riding through a picturesque stretch of country in a supertrain like the TGV. The landscape looks seductively lush and varied; the local populace seems lively and inviting, like people you might want to know; you can even hear tantalizing snatches of folks singing in an intriguing idiom as they go about their work. But it all passes by in a watercolor blur. This show isn't stiff and anemic like its chief musical competition this season, "The Woman in White" (another plot-crammed adaptation of a novel). But it never slows down long enough for you to embrace it.
Would that "The Color Purple" did take time to stop and smell the lilacs. Directed by Gary Griffin - with a book by Marsha Norman and songs by Brenda Russell, Allee Willis and Stephen Bray - this show is blessed with a surfeit of performing talent. There's not a clinker among the major cast members, led by LaChanze as the downtrodden, man-mangled Celie, whose sexual and social awakening over four decades gives the story its shape."
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Thanks to the cast's spirited way with a song, "Purple" strikes some sparks during its long and winding journey. But it takes a concentration and leisure the show lacks to fan sparks into a steady flame.
The overwhelming breathlessness of this production is probably unavoidable, given its determination to hew as close as possible to its source. Ms. Norman is an eminent playwright whose " 'night, Mother" won the Pulitzer for drama the same year that Ms. Walker's novel did for fiction. And Ms. Norman brings a refreshing if dogged writerly respect to Ms. Walker's work.
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Mr. Griffin, acclaimed for his ingeniously miniature productions of big-scale works like "Pacific Overtures" and "My Fair Lady," emerges mostly as a skillful traffic conductor here. He keeps things moving at a jaunty clip, even when the events are as ugly as rape, domestic abuse and racial violence. This discrepancy would probably be jolting if you had time to think about it.
Amid the whirlwind of story lines, LaChanze holds admirably steady in what is a rather thankless part. Since Celie spends much of the show being scared and downtrodden, LaChanze must hide her considerable natural light under a bushel of homeliness and self-effacement. And her long-delayed survivor's anthem, for which she is allowed to pump up the volume, is unfortunately a generic power song. (Sofia's truncated "Hell No!" and Celie's top-40-ready duet with Shug, "What About Love?," are better.)
http://theater2.nytimes.com/2005/12/02/theater/reviews/02purp.html
"What a story........ everything but the bloodhounds snappin' at her rear end." -- Birdie
[http://margochanning.broadwayworld.com/]
"The Devil Be Hittin' Me" -- Whitney
Updated On: 12/1/05 at 10:49 PM
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