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Photo: Paul Kolnik
Not that Hollywood doesn't play its part here. The musical is as much an adaptation of Steven Spielberg's 1985 film as Walker's novel, taking its cues from that movie for what plot points to cut, de-emphasize, or change. The result is, even moreso than the film, a brief overview of the novel, Cliff Notes set to music. And no wonder: the story covers 40 years in the life of Celie Harris, a poor African American girl born into poverty, grown into incestuously-conceived teen pregnancy, and sold to an abusive husband, before finally finding herself and her power in middle age. This epic sweep, with multiple storylines taking place on two continents, must be condensed to fewer than three hours. And being that we have millions of dollars in production costs to recoup for those gorgeous sets, and the hugely talented cast of actors, singers, and dancers, the raw, rough, and at sometimes shocking events of the source material need to be cleaned and buffed for a little greater audience appeal.
As a result, fans of the book may find themselves disappointed at what's missing, and even more at the lack of time to reflect on events that the book provides. As the lights dim in the Kennedy Center Opera House, every person there is strapped onto the nose of a rocket and hurtled headlong through those 40 years. If your attention slips, or you miss a lyric, you may find yourself a little lost. Even in a survey of the material, there's a lot of story points to hit, and the plot speeds along fast and furious. The ride is so thrilling, it's easy to forget what's been left behind. It's disappeared in the rearview before you can even glance back, so best just to keep eyes forward and let the production rush at you.
It's easy to do. The cast is without a single weak leak, starting at the top with American Idol-alum Fantasia Barrino in the role of Celie. Barrino boasts a powerful and distinctive voice, which is mostly kept hidden through the film's first act, as Celie is meek and restrained, and the singer's vocal performance reflects her character's withdrawn personality. As she gradually grows empowered through the second act, though, she's allowed to unleash fully that instrument in some truly show-stopping numbers. Even more of a joy to watch, though, is Felicia Fields as Sofia, the brash, brassy wife of Celie's step-son Harpo. The role is made for scene-stealing, and Fields takes full advantage, just as Oprah Winfrey did in the film version. Her "Hell No!", a defiant number that foreshadows the trouble that phrase will eventually get her into, is the show's highpoint, distilling the attitude and humor that typify some of the show's best moments into a single crowd-pleasing song.
Similarly, the sets are beautifully constructed, evoking the earthy feel of rural Georgia with weathered wood, twisted roots, and Spanish Moss-hung tree canopies. These sets reach down into the earth just as surely as Celie casts her voice and her prayers to the heavens. Scenes change and years pass fluidly as facades and rooms glide on and off stage in a carefully choreographed dance that is subtle and effortless. Such is also the case with the actual dance choreography, whether it's dirty dancing in a raucous juke-joint or a more modern and impressionistic imagination sequence of African tribespeople as Celie reads through the letters her sister sends back from her missionary work.
The Color Purple succeeds at just what it sets out to do: carry us on a breakneck emotional ride through the life of a poor African American woman who finds richness in her life despite a laundry list of adversities. The songs are distinctive and tuneful, a blend of R&B, jazz, blues, and gospel that, while unmistakably modern, are never too far from the source material to seem out of place. And, just like a summer blockbuster, it gives audiences exactly what they want: a non stop thrill ride that makes nearly three hours pass effortlessly, and emotion high enough to bring out the tissues for tears of happiness as the music swells and the curtain comes down.
The Color Purple is at the Kennedy Center Opera House until August 9. Tickets are $25-$95.
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