"As musicals go, the story couldn't be simpler. Yet the material couldn't be richer...As Violet travels from the Blue Ridge Mountains to Memphis to Tulsa, the music moves from warm, soul-stirring folk-the bulk and heart of the score-to smoky R&B and blues to full-throated gospel and back again. It's impossible not to get swept up by rousing numbers...And, more important, you'll have to imagine Violet's facial scar, the result of an ax blade swung accidentally by her father when she was a girl; Foster's face remains unblemished. Of course, from the start, you know she's on a fool's journey. But you'll never regret taking the ride." A-
"So here it finally is, 17 years later and officially considered a revival, in a taut, vibrant, dirt-kicking show directed with exuberance and minimal fuss by Leigh Silverman...Colin Donnell plays the hunk, surprised to find himself drawn to her. Joshua Henry portrays the black man, the first Violet ever knew, who sings that he wants her to 'see me the way I see you'...In the middle of it all is Foster's Violet, with lank hair and lanky limbs and a glorious voice that cuts through complicated emotions without ever belting. She embodies both Violet's defensive armor and the childlike trust in a miracle that will give her 'Gene Tierney's eyes and Ava Gardner's eyebrows'...Yes, this is an ugly-duckling Cinderella tale about beauty being skin deep. But it is filled with unexpected details, compassion for its quirky characters and, especially, a rigorous score that reaches its own destinations through gospel, bluegrass and heart-aching anthems to tentative hopes."
The Wrap is mostly positive while calling Brantley an "evil stepmother".
"And it's not just someone working the dials like a varmint strung out on moonshine. Since every other song is geared to bring down the house, it's a surprise the American Airlines Theatre still stands. Several spare but lovely melodies continue to run through Tesori's music; one thing that the original “Violet” had going for it was simplicity, and the composer didn't overreach with a big “Rosa's Turn” the way she did with the eleven o'clock numbers in her subsequent shows “Caroline, or Change” and “Fun Home.” Some of that unadorned lyrical beauty remains in Violet's ballads, nicely sung by Sutton Foster. She succeeds in not competing with the showbiz brashness surrounding her, although the actress's signature can-do spunk doesn't always jibe with Violet's self-image. Perhaps that little inconsistency doesn't matter. The generic hillbilly twang that everyone sports is just make believe. Give these country folks a song, and they can't help but turn into Broadway babies."
"Some musicals are big and brassy, calling out for attention with their razzle-dazzle and sassy sets. Others are more demure, letting their simple beauty shine. How appropriate then that a show about inner loveliness chose the latter path...Violet is a reminder - if we have already forgotten the power of Once - that a Broadway musical has to hit your heart as much as be visually pretty. A recent preview of Violet left some in the audience crying and smiling. And that's with a show that has actors simply bumping up and down on chairs to recreate a bus trip...It's not too hard to figure out that a show about a woman who thinks she's repulsive will ultimately deal with issues of beauty and the nature of love. It does, but it also explores guilt and belief, proving there's a lot you can do when you have great songs, wonderful singers and keep it simple." AP
As it's been said, it's hard to say. Let's wait for reviews on Michelle Williams before we even make the final real pre-tony predictions (I can dream!)
I saw this at Encores, but not this season. Sutton Foster was delightful, Van Hughes was swell (would have loved for him to stay with this), and Joshua Henry was the best I've ever seen him. Based off of what I saw then, what I've heard now, and what I read, I'd say Foster and Henry will get nominations and Colin O. stands a chance, too.
To me, Sutton is a lock for a nomination and a serious contender for the prize. Like all the leading ladies this year.
About Les Miserables - I would be very surprised if it won over Violet and Hedwig. Both shows seem to be getting a much warmer reception than the dreadful revival at the Imperial.
"There’s nothing quite like the power and the passion of Broadway music. "
Although Les Mis received fairly positive reviews all around, it won't win. It will come down to Violet or Hedwig. At this point, it's kind of up in the air between those 2, I believe.
Les Mis will definitely receive a nomination though.
With Mazzie and Yorke getting praise for Bullets and Menzel for If/Then I think Best Actress in a musical is going to be the most competitive field in a year where every category is stuffed with talent.
Wonderful reviews! (: I believe the Lead Actress Tony is going to be a close five way race this year, with no clear frontrunner. Perhaps it might even be a tie on Tony night? I think the voting is going to be that tight (also, what if the Tony committee decides to place Audra in the Musical category? Hear me out: half of her show is her singing, she actually sings MORE than any of the other actresses - it's a Musical Actress performance - I saw this show years ago with a different actress in the lead, and it was impossible to say if it was a play or a musical).
I'm not as convinced as others that Les Miz is out of the running, only because both Hedwig and Violet are small shows - I just don't get how a two performer show that is essentially a rock concert wins an award for it's production, no matter how much people like it (I also think there is an age divide with Hedwig: younger audience members like it much more than older audiences and Tony voters; I believe there are more older voters than younger ones) - I would prefer Violet to win, but Les Miz's "bigness" might help it with enough voters to give it the win.
"I would prefer Violet to win, but Les Miz's "bigness" might help it with enough voters to give it the win."
As the song from Nunsense reminds us "The Biggest Ain't the Best." We've seen plenty of times when the Tony voters have realized this and given awards to smaller and quieter productions and designs over flashier productions. And if you want to go to the more cynical side and assume the road presenters who are also Tony voters thinking of their seasons first they don't necessarily need to give Les Mis the award. This production has already played the road houses and they know it will do just fine if it comes back, with or without a Tony for Best Revival attached to it.
This is a serious question and I mean it genuinely (not being snarky) ----
As someone who doesn't know "Violet" at all, and more importantly - as someone who would pretty much rather see anyone else perform on Broadway besides Sutton Foster.... should I see this???? I'm a big Joshua Henry fan so that alone may get me there. I thought he was stunning in SCOTTSBORO and would have won the Tony if that show had been open during Awards season. But I have seen Sutton in everything she's done and she always looks like she'd rather be anyplace else than on that stage. She's incredibly boring to me. But I'm always ready to be surprised. I just have limited funds this year so wondering if this will be a "must-see"
I'm the same way jdrye222. I really want to see Colin Donnell and Josh Henry in this but I just really can't stand Sutton Foster..at all. I just decided to buy a ticket today anyway.
Well, then this show is for you. He is absolutely brilliant in this role. His performance alone is definitely a must see. Sutton really is great in this role, as well. I definitely think it's worth it.