Two-time Tony Award winner Sutton Foster (Anything Goes, Thoroughly Modern Millie) returns to Roundabout in the highly anticipated Broadway debut of Violet, following the acclaimed concert performance at City Center Encores! Off-Center. Winner of the Drama Critics' Circle Award and Lucille Lortel Award for Best Musical when it premiered Off-Broadway, Violet features music by Tony nominee Jeanine Tesori (Caroline, or Change, Fun Home) and book and lyrics by Brian Crawley (A Little Princess). Leigh Silverman (Chinglish, Well) directs.
Much of 'Violet' takes places on a bus, which lends itself to a minimalist staging with just a few chairs. The flashbacks should be simple, too. But once Violet and her GIs exit the bus, this production (which is designed by David Zinn) can't decide how (or whether) to build on its initial, simple style. The set expands and contracts. Some of the onstage musicians don robes and join a gospel choir. But you never really feel the pull of place, or of a lost time, nor the comforts of a well-defined imagined world. Foster throws herself into this unglamorous role, her face pale and her body propelled into a world of no self-confidence. It is a very honorable performance, filled with craft. Foster never condescends, and she clearly enjoys her character's intelligence, although she, too, struggles toward the end with the need for climax and consequence.
It took 17 years, but Jeanine Tesori's beloved musical about a woman with a facial deformity journeying through the 1960s South has made it to Broadway...In expanding Betts's story, Crawley freights these relationships with more weight than his writing supports, and small moments of exaggeration (in the writing and staging) interfere with the piece's mood. But Tesori's music is a savory stew of American roots, stirringly sung by a cast that includes Emerson Steele as a younger Violet and Rema Webb as a gospel soloist. Though flawed on its face, Violet provides-as Flick sings in the show's best song-reason to rejoice.
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