Review: The Color Purple

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The critically acclaimed musical adaptation is poignant but chaotic

Anyone familiar with the Pulitzer prize-winning book by Alice Walker, and the subsequent motion picture, will know that The Color Purple is a solemn affair with themes of rape, incest, abuse and overt racism and sexism.

Adapted for the stage by Marsha Norman, this collaboration between Made at Curve productions and Birmingham Hippodrome follows lead character Celie against a backdrop of the deep south in 1900s America where she faces many trials and tribulations.

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Despite this, the musical has several moments of joy and light-hearted dialogue as it celebrates life, love and strength. Opening number Huckleberry Pie/Mysterious Ways is strong and joyful with some wonderful female vocals from the ensemble. The Stevie Wonder-esque Big Dog which was performed by the male ensemble also had groove.

This first scene inside the church is clever and effective and is a glorious gospel affair, complete with tambourines and flailing hands. The set is simplistic but works well with rising doors revealing different locations such as the shop, the home or the church.

From the off, it is clear that the score incorporates many musical influences like jazz, ragtime, gospel and blues. The music by Brenda Russell, and lyrics by Allee Willis and Stephen Bray, is soulful and triumphant under Ian Oakley’s musical direction. The musicianship of the orchestra was admirable form jazz keys to funky bass.

The trio of church ladies come town gossips – Darlene, Jarene and Doris – are reminiscent of the Little Shop of Horrors narrators, popping up throughout the show to pass comment. Whilst the premise was amusing and their voices were good, the intertwining vocals were ruckus-like and hard to understand; it was often a competition of who can sing or shout over the other.

The principal role of Celie (Me’sha Bryan) was played fantastically. She gave her all to Celie’s huge, emotional songs like Dear God and I’m Here, however her tone was unusual and not easy listening. At times her voice sounded powerful or lyrical and other times it was slightly off key and harsh. Nevertheless, she played the role with conviction and heart.

Moreover, Celie and her sister Nettie (Aaliyah Zhané) as children were difficult to understand with their shaky vocals and childlike lisps; their voices didn’t particularly gel well together either. However, the casting was excellent. The petite actresses conveyed a sense of vulnerability as young, black women who are oppressed and abused.

Anelisa Lamola, who played the part of fiercely independent Sofia, was without a doubt the standout performer despite playing a supporting role. From her opening gruffy, soulful notes, she sang with a purity that was truly incredible, and possessed an acting ability that could make you laugh and cry. Her sassy number Hell No was inspiring and her partnership with husband Harpo (Ahmed Hamad) was funny and endearing.

The part of Mister was portrayed by Ako Mitchell, and he did a sterling job. He crafted his controlling and spiteful character well, so much so that you could sense the audience’s disdain towards him. He also had a great, richly soulful voice and the combination of his acting and singing during Mister’s Song – Celie’s Curse made for a tortured soliloquy.

At times it was unclear who certain characters were and where they fit into the narrative. For example, Squeak (Jimand Allotey) who donned a yellow dress like Nettie, appeared randomly to seduce Harpo. In fact, many of the scenes and songs were jumbled and disorienting.

Act two was better than the first, but it was still fundamentally all over the place. Whilst numbers such as Miss Celie’s Pants (which was light and uplifting), and Anything for You (which was funny and raunchy) were enjoyable, they were also vastly out of place and added to a growing sense of lucidity.

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Shug Avery (Bree Smith) was a good character and a welcome addition. Her song to Celie, Too Beautiful for Words, was lilting and controlled. The glamorous singer added a different dimension to the show and brought a sense of fun and empowerment for Celie – whose eventual strength to fight back was applauded by the audience.

As amazing as some of the vocals were – and unquestionably a lot of the musical numbers were beautifully crafted – the story certainly lends itself more to its origins and would perhaps work better as a straight play.

The titular song that closed the show epitomised triumph over adversity. The themes were hard-hitting and the music powerful and moving; The Color Purple, despite all of its flaws has a poignancy that makes the audience truly reflect.

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