Review: THE COLOR PURPLE at The Black Rep is a Satisfying Production

The musical adaptation of Alice Walker’s Pulitzer Prize winning story, The Color Purple, opened the Black Rep’s 50th Anniversary season this weekend. The Color Purple tells the redemptive story of an abused woman who learns to love herself over any other. She discovers her self-worth and independence with help from two unlikely women.

The original Broadway production opened in 2005 and ran for over 2-years playing 910 performances. It was nominated for 11 Tony Awards and won one. LaChanze was named Best Actress in a Musical.

The acclaimed revival in 2015 starred Cynthia Erivo and Jennifer Hudson. That production was the Tony winner for Best Musical Revival, and Erivo was also named Best Actress in a Musical for her turn as Celie. The set design for the successful revival was stripped-down and focused more on the actors, story, and score.

The stripped-down set design has become the gold standard for companies staging future productions of The Color Purple. For this production at The Black Rep, director Daniel J. Bryant tells the story on Tim Jones’ set of risers flanked by dark stained wooden slat walls that resemble a horizontal privacy fence. The wooden back drop allows lighting designer Michael Sullivan to use a multi-hued back lit palette that shines through the slatted panels. While the design is simple, the moveable back wall provides a few set and lighting design surprises enhancing Bryant’s musical storytelling.

Music director Jermaine Manor and choreographer Heather Beal place the focus of the production on musicality and movement. This is the best conducted and sung musical production staged at The Black Rep since the pandemic shutdown. Manor’s orchestra and the ensemble’s vocal performances are first rate. Unfortunately, there were some significant sound and microphone issues that plagued the performance early in act two.

Beal’s choreography had multiple standout moments. The second act opening sequence “Africa” parts 1 and 2 featured traditional African dance moves that were enhanced by Jarrod Barnes’ colorfully authentic costume designs. Beal’s movement also impresses in “Big Dog.” She gives the “Act 1 Finale” a sultry juke joint flare and stages a fitfully joyous number for “In Miss Celie’s Pants.”

While the song “In Miss Celie’s Pants” praises her independence and success as a clothier, the song and celebratory choreography have always felt tonally incongruent as part of the narrative. The number never feels stylistically in-step with Alice Walker’s emotional story.

What carries this production of The Color Purple are the performances of the actors playing Celie, Sophia, and Shug Avery. Powerhouse Broadway veteran Angela Wildflower returns to the Black Rep with a magnetic portrayal of Celie. Wildflower embodies Celie’s loving heart while expressing the protagonist’s longing pain for her children and sister. Wildflower blows the roof off the theater singing Celie’s soulful redemptive anthem “I’m Here.”

Adrienne Spann’s stubborn and resolute Sophia refuses to be bullied. She is the catalyst that changes Celie’s perspective on spousal abuse. Her angry “Hell No!” is a moment. Sophia and Shug’s cathartic relationships with Celie drive her transformation giving her the power to free herself from her abusive husband Mister.

Shug Avery is played with arresting presence by Alexis J. Roston in her Black Rep debut. Roston’s Shug is a loving and caring, albeit selfish, confidant who teaches Celie to love herself. She gives Celie the courage and agency to take control of her life. Roston’s portrayal of Shug is softer than usually played, making Shug more likable and relatable. Roston and Wildflower are electric together. They share palpable passion and remarkable emotional depth.

Black Rep regular Kelvin Roston, Jr. returns as the cruel, volatile, and controlling Mister. His menacing portrayal is unsettling. It is easy to understand why Celie fears him and feels trapped. The character’s moral awakening at the end of Act 2 always feels disingenuous when he becomes a contributor to Celie’s happiness and freedom.

A Greek chorus of Church Ladies advance the plot while handling a large portion of the score. Anita Michelle Jackson, Amber Alexandria Rose, and Olivia Neal raise their voices and lend their charisma to the gossipy and nosy church women.

Having seen multiple productions of The Color Purple, Squeak’s voice is more of a subtle annoyance than being abrasively grating. Granted the character is scripted to alienate the audience, provide comic relief, and build empathy for Sophia. But Taylor White’s broad portrayal made Squeak caricature-like. The portrayal would be improved by softening the vocal gymnastics just a bit.

Brian McKinley convincingly inhabits the subservient Harpo. He is torn between the toxic advice from his intimidating father and his love for his dominant wife Sophia. Harpo quickly learns who is in control of their home and relationship.

The vocally strong ensemble includes Morgan Taylor as Celie’s sister Nettie, J. Samuel Davis as Ol’ Mister, Olajuwon Davis as the Preacher, and DaJuan Johnson as Bobby. Each of the 13-member ensemble take on multiple roles throughout, singing, dancing, and making the production feel like the story is being told with a much larger cast.

The Color Purple is a mid-tier movies-to-musical adaptation that falls just short of becoming a classic. Brenda Russell, Allee Willis, and Stephen Bray’s score is competent but uneven. However, Marsha Norman’s book and her message of resilience, self-actualization, liberation, and reclamation resonates strongly. The Black Rep’s production captures Celie’s emotional transformation in a convincing and satisfying way.

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