The ‘Color Purple’ lacks credibility as musical
By Juliet Schoen / Special to The Malibu Times
“The Color Purple,” playing at the Ahmanson Theater downtown, fails to elicit the kind of simpatico that was evident in the book by Alice Walker and the movie directed by Stephen Sondheim. The characters become stereotypical and rather dull, sad to say.
The musical takes place in Georgia in 1949 and it is hard to believe that the members of the all-black cast are so well dressed and thriving.
The central figure of Celie is the only one who seems to be having trouble and the trouble is a big one. She has been “sold” by her father to a man who needs her to take care of his children and he is a nothing less than a Simon Legree. He beats her and abuses her and sleeps with other women. As expected, there is Celie as the downtrodden wife, Shug Avery as the sexy flirt, and the well-fed, emancipated Nettie who would never allow a man to beat her. Amen.
Since this is a musical, there is much singing and dancing, none of which is particularly notable. A sense of déjà vu pervades the entire production.
The cast cannot be faulted, however, especially the women leads. Celie is played with bowed head by Jeannette Bayardelle. Michelle Williams is believable as the promiscuous sexpot and LaToya London is smashing as independent Nettie. The main men’s roles are performed by Rufus Bonds, Jr., Stu James, and Quentin Earl Darrington.
Acting as a kind of Greek chorus are three women who could go on tour as The Three Yentas if this were a different culture. They are played by Virginia Ann Woodruff, Kimberly Ann Harris and Lynette Dupree.
The music is not memorable, nor are the lyrics particularly enlightening. However, there is an abundance of both and credit must go to Brenda Russell, Allee Willis and Stephen Bray who worked exceedingly hard to add cheer to the proceedings.
The production was directed by Gary Griffin who manages to move the show along despite the difficulties of having to cope with changing sets and changing time frames. Donald Byrd was responsible for the choreography and John Lee Beatty was the scenic designer. Thanks to costume designer Paul Tazewell, everyone is well dressed.
The bottom line is that a musical about blacks in Georgia back in the 1949 cannot evoke joy despite the message that love is all.