Review: THE COLOR PURPLE by Chromolume Theatre at The Zephyr

The Color Purple was written by American author Alice Walker in 1982 as an epistolary novel and went on to win the 1983 Pulitzer Prize for Fiction and the National Book Award for Fiction. Its popularity soared after it was adapted into a feature film directed by Stephen Spielberg in 1985 featuring Whoopi Goldberg, Oprah Winfrey, and Margaret Avery, all four of whom were nominated for Academy Awards. The fact that the film received 11 nominations but won no Oscars does not diminish the impact it had on bringing Broadway musicals back to the silver screen successfully.

L to R —Veronica Driscoll and Minque Taylor as Celie and Shug Avery.
Photo credit: James Esposito

The original Broadway musical production featuring a book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, ran from 2005 to 2008, earning eleven Tony Award nominations in 2006. An enthusiastically acclaimed Broadway revival opened in late 2015 and ran through early 2017, winning two 2016 Tony Awards including Best Revival of a Musical. Its popularity with all audiences guarantees it will continue to be produced around the world for years to come.

I cannot think of enough accolades to share about the current production being staged by Chromolume Theatre at the Zephyr Theatre, directed magnificently by Elijah Green, with energetic choreography by Katie Powers-Faulk and musical direction by Miki Yokomizo. The totally entertaining and artistically brilliant production pulled me in from the moment it started until the end, given the amazingly talented cast who bring the characters so realistically to life that you will experience all the emotions each is going through from moment to moment, laughing and crying as you celebrate great joy with all of them.

The Color Purple is an inspiring family saga that tells the unforgettable story of Celie, a downtrodden young woman whose personal awakening over the course of 40 years forms the arc of this epic story. Her journey through love, hope and fear gives her the strength to triumph over adversity and discover her unique voice in the world. With a joyous score featuring jazz, ragtime, gospel, African music, and the blues, it’s a story of hope, a testament to the healing power of love, the joy of freedom and bringing others along for the ride of their lives.

L to R — Veronica Driscoll and Shelby Williams as sisters Celie and Nettie.
Photo credit: James Esposito

With the focus of the story on the life of African-American women in the 1930s, addressing numerous issues including their exceedingly low position in American social culture, it is the talented actors who must shine for the musical to succeed. And director Elijah Green perfectly cast his production with 20 of the most talented triple-threat actor/singers in town, each of whom knows how to work together as an ensemble to allow the show to soar, starting with the lead, Veronica Driscoll as Celie who literally raised herself to new emotional heights during "I'm Here," effectively inhabiting Celie to her heart and soul. Her sister and confidant Nettie is portrayed to perfection with the necessary backbone as well as timidity by Shelby Williams, making her musical theatre debut.

Minque Taylor is a standout as Shug Avery, the fast and loose woman who blows into town and sets Celie on her journey to self-discovery. Her song renditions are show stoppers, especially her wake-up call to Celie, telling her she is "Too Beautiful for Words," and her powerhouse and oh-so-sexy "Push Da Button" performed with the ensemble on the opening night at Harpo’s Juke Joint.

Jonathan Farrington and Jodi Marks as Harpo and Sofia reuniting in his Juke Joint.
Photo credit: James Esposito

Jodi Marks adds real zest to curvy and outspoken Sofia during her “Hell No!” anthem in which she celebrates speaking up for herself against anyone who attempts to order her around. And because she left her husband Harpo (Jonathan Farrington) for striking her, he turns the house he built for her into his own Juke Joint and hires Betty-Boopish Squeak (Amaya J) to waitress and warm his bed. When the club opens, Sofia returns with new flame, prize fighter Buster (Johnathon O’Neal) who can afford to give Sofia the type of life she has always wanted. But after Squeak runs off with Buster, Sofia celebrates her sexy reunion with Harpo during "Any Little Thing.”    

Lonnie Jones III portrays Mister.
Photo credit: James Esposito

Lonnie Jones III’s hate-inducing performance as Mister, the user and abuser of women who marries Celie when neither Nettie nor Shug is willing to take care of his always-ready libido, home, four kids, and accept his beatings for disobedience, that will set your blood boiling. Thankfully after the women leave him for good, Mister’s miseries transform him into a caring, older gentleman who takes responsibility for tearing Celie’s life apart by finally reuniting her with Nettie, who returns from Africa with Celie’s two now-adult children who Celie has not seen since they were born.

Commenting on everything going on in town are very opinioned Church Ladies Darlene (Jayla Bryant), Doris (Milyah Law), and Jarene (Olivia Leyva) who banter as they arrive and depart during scenes, acting as the Greek Chorus of the musical. Their soulful sass and incredible harmonies added in much laughter and understanding nods from audience members. I especially enjoyed their every appearance, especially during "Miss Celie's Pants" as the women finally learn to accept who they are and stand tall on their own two trousered feet. Costume design by Shon LeBlanc adds to the humor of this scene and overall beauty of the entire show.

Veronica Driscoll celebrates Celie's new sense of freedom while singing "I'm Here."
Photo credit: James Esposito

Rounding out the ensemble are Jordan McAllister, Christopher Baker, Omari Miller, and Stephen Gregg who portray the rest of the men who populate the story and set the women on their paths to hardship and glory, along with female ensemble players Myia LaShaun and Kara Marie (Squeak u/s), and lead understudies Barbara Ann Reed (Celie), Andante Petit-Homme (Mister), and Journie Ma-Johnson (Sofia).

Technical credits are top notch from scenic design by Shawn Plunkett, lighting design by Daniel Michener, sound design by James Esposito which allows each of the cast’s amazing voices to be heard over the rocking 3-piece band, and intimacy director Ariella Salinas Fiore for adding in just the right amount of sexy behavior to entice but not offend.