The Color Purple Finds Its Glory

The Color Purple, which currently resides at The Broadway Theatre, is a story that we all know, with an original score that we are all destined to fall in love with.

Some musicals offer adventure, others offer comedy, many offer the concept of emotional attachment and love, The Color Purple offers all three intertwined with an extra dose of heart. The authentic approach and the sincerity heard and felt behind each song, word, and directed action, speaks a theatrical language that many composers and directors will never be fully fluent in.

Alice Walker wrote the book, Steven Spielberg directed the film, and Oprah Winfrey signed on as a leading producer for the musical version, yet these three powerful factors seem to be non-existent in the enjoyment and appreciation for what is seen on stage. Of course its Walker's story and influence behind the entire production, and for that we thank you dearly Alice, but surprisingly there is so much more to this show, other than a number one selling book.

Most of us know the story; for those who don't, it revolves around a central character by the name of Celie (played by LaChanze), who faces a life of torment and tragedy when she is raped by her father, married to an abusive husband, and taken away from her sister Nettie, the only person that truly loved her. Her story revolves around a community of other women and underlining stories, that all lead to conceptual story lines, comedy, and emotion. You need not know more, as the story unfolds before your eyes at The Broadway.

Gary Griffin, who makes his Broadway directing debut, has utilized the ideologies of dance, song and dialogue in a sensational manner, which utterly separates the musical from the film. Sure, most of us knew how the story would end, yet the journey of arriving to the conclusion was designed in such an artistic comportment, that you forget you haven't seen this before. Giving life to fictional characters is always a daunting task, especially when they are so close to beaten down real life, that the audience is expected to feel empathy for those they don't know while still having a full understanding that what they are watching is a fabricated story meant for entertainment purposes only. Yet, Griffin so carefully crafted each action and the use of each word, that as an audience you forget who you are where you are sitting. The power that The Color Purple possesses is engulfing to the spectator, and in essence a beautiful escape into the stories, minds, and lives of paid actors portraying fictional characters. If the theatre community is lucky, such an overwhelming experience comes once a season, and this is the show it chose to arrive in. Yet, Griffin has excellent story telling partners that must be accredited for the triumph of this new musical.

Brenda Russell, Allee Willis, and Stephen Bray all make their Broadway debut, with a slue of pop songs (with some soul flavor) that will stay in your head for hours, even days after you see the musical. Other than Griffins artful direction, the leading factor to relive the story and take a chance on a talented cast, is the original score that soars, screams, laughs, and cries the trials and tribulations of one woman, and those who come in and out of her life. Songs such as Our Prayer, Dear God, and What About Love, are written to ensure that they thug on every heartstring of the human body. With a beautiful score and endearing lyrics, each song is delivered with again what this show screams, each song is delivered with heart. Other more up-tempo catchy songs include Push Da Button and Hell No. After Miss Independent, (takes no one's crap) Sofia, Played by Felecia P. Fields, delivers the performance of Hell No, which could easily transcend into a song that defines a cultural phenomena, the entire theatre is covered in screams, hysterical laughter, and a applause from men and women alike. The song which refers to the idea of not accepting men hitting women is clearly the highlight of the first act. It's an experience that only parallels in effect, if you weren't in the theatre to feel it. Bravo to the songwriters and lyricists on this one.

And then there's the cast. With a large ensemble, and only a handful of performers stealing the spotlight, the new musical has someone almost everybody can relate to. Of course there is Celie, Played by LaChanze. LaChanze, who has been gracing Broadway and Off-Broadway stages for years, has finally garnered a role that allows her to shine. Her touching approach to the story, and her miraculous physical acting, makes the character of Celie come alive like never before. There is no doubt that LaChanze was born to play this role. Home is where you exceed all expectations, and LaChanze has finally found home.

Elisabeth Withers-Mendes delivers the performance of Shug Avery, a voluptuous, pleasure seeking diva that has the power to make every man love her and every woman want to be her. In her touching performance of Shug, she provides Celie with a much needed confidant, and a sense of hope and confidence. Her singing ability is probably the most impressive of the group.

Felica P. Fields, who plays the self righteous Sofia, undoubted delivers the comedic side of this sad yet inspiring tale. Married to Mister's son, in turn becoming Celie's daughter in law, the character of Sofia (which was played by Oprah in the film version, gives a much needed sense of entertainment and an overall enjoyment of life. Fields stands for what is funny, and always allows the audience to laugh.

The Color Purple is more than a musical; it's an experience that won't be easily forgotten. It's hard to say that this is the one musical to see of the new season, when there are three other blockbusters out there, but if you are looking to take a chance on a rookie Broadway director and veteran actors that posses more heart that any other show, then this is the one to see. When the Tony's roll around this June, don't be surprised if The Color Purple shocks the nation and clears house.