"For me, THEATRE is an anticipation, an artistic rush, an emotional banquet, a jubilant appreciation, and an exit hopeful of clearer thought and better worlds."
~ an anonymous traveler with Robert Burns
Well seeing as how their marquis is pretty much lifted from the opening credits of the film, I don't think they're trying to drift too far from the movie...
I cannot wait for this musical. I hope it wins the Tony and I hope LaChanze wins as well. Just an incredible story and the music sounds phenomenal. I have a feeling this is going to be a very big critical hit but whether or not audiences will flock to it is a bit uncertain. I hope to God they do but we shall see...I'm gonna be crying a hell of a lot in this one LOL...I'll say that right now...
This is a show that could be amazing or reeeaaallly bad. The movie and the book are so good. Here's hoping that the show will be amazing. It's got every potential to be. I hope the score is better than what I've heard previously. I think they've had time to work on it. Crossin' my fingers. PS LaChanze looks beautiful.
God, I hope this wins over everyone. LaChanze is amazing in everything she does, and the music in the background sounds absolutely gorgeous. Here's to hoping Saycon and Adriane join in like they did in Atlanta...As you can tell from the avatar, I'm a bit biased
Here's to hoping Saycon and Adriane join in like they did in Atlanta...
Adriane has already said that she won't be back for the Broadway production. I believe she's contracted for a year in Doubt, so it's not possible.
Saycon's return, on the other hand, would not surprise me. Given all the buzz around Ana Gasteyer, Saycon seems to no longer be the first choice to replace Shoshana when she leaves in January. It would be a smart move for her to jump ship and go into this show.
I saw the production in Atlanta, and would love to see Saycon again. I'm also looking forward to seeing the new choreography (I felt the choreography was one of the weaker elements in the Atlanta production).
The Atlanta production notes credited Spielberg, so the production definitely draws from the movie. Although the book is marvelous (and well deserving of the Pulitzer), most people equate The Color Purple with the movie. My guess is that the creative team knows this.
There is quite a bit of dialogue lifted from the film. I assume this is mostly due to the fact that the book is in journal form and contains little dialogue, so it is difficult to be too distanced from the film. I do think the score could be beefed up from the Atlanta production (especially the finale), but overall it is good, though not quite memorable. Many times, the songs start off great, but then fall short just as you might think they would take off. As with the film, Sophia is the scene-stealing character that can run away with the show (especially in the number "Hell No"), and the use of the gossipy women are an absolute delight and could be used even more as narrative. Hopefully, the show will be cranked up a couple of notches for Broadway that would put this show over the top. Looking at the upcoming season thus far, it is definitely in the running for a Tony nom for Best Musical (along with Woman in White).
"What can you expect from a bunch of seitan worshippers?" - Reginald Tresilian