Full of showstopping musical numbers, the Goodman Theatre’s top-tier theatrical production of “The Color Purple” will leave audiences singing its praises. If you’ve somehow missed reading Alice Walker’s masterpiece or seeing either of the two film adaptations, then indulge in the stage musical version of this American literary classic. Under the thoughtful direction of Lili-Anne Brown, this rendition feels vibrant, poignant and timeless. Brown has directed this piece twice before — at Drury Lane in Oakbrook Terrace and at The Muny in St. Louis — and it’s clear that the time Brown has spent with this story has deepened her interpretation. Every line is rich with intention.
Set in the early 1900s, “The Color Purple” follows Celie, a poor, young, Black girl as she comes of age while enduring inhumane treatment. After being married off to a cruel older man and separated from her family, she embarks upon a raw and inspiring journey of self-discovery. Set designer Arnel Sancianco creates the world with a scaffolding of wooden beams, evoking a modest, respectable church. Upon closer inspection, the walls contain eerie textured sections that resemble scarred skin, a silent and sobering commentary on America’s history.
A vocal tour-de-force, Brittney Mack is stunning as Celie, the meek and downtrodden young woman who slowly blossoms. The fullness and emotional depth of Mack’s voice reverberates into every corner of the soul. As the story progresses, she masterfully embodies Celie’s internal journey with vulnerability, strength and grace, transforming from broken child to self-assured woman. Mack cycles through complex emotions with nuance, such as the sequence when Celie tenderly cares for Sofia’s injuries from a beating by a white mob, while registering her own shock at the extent of the wounds. That moment is followed by Celie breaking down in grief at the injustice, then quickly pulling herself together, gathering poise and masking her simmering rage in the face of authorities.
The entire ensemble is phenomenal, starting with the full-cast opening number “Mysterious Ways;” Breon Arzell’s crisp, dazzling choreography signals that this production will be a treat. Lachrisa Grandberry, Sharriese Hamilton and Reneisha Jenkins flounce onto the stage, creating a delightfully snarky Voltron of neighborhood busybodies who pop in and out with hilarious colorful commentary and outrageously intricate harmonies.
Evan Tyrone Martin crafts a gentler, more bungling version of Mister — Celie’s husband — than the terrifying version delivered by Danny Glover in the 1985 film. However, Martin still offers a complicated exploration of toxic masculinity; the cycle of abuse and recompense is realized in his keening rendition of “Mister’s Song.” Nicole Michelle Haskins commands the stage with swagger and a true gospel voice as the jolly and headstrong juggernaut that is Sofia, playfully bossing around the pliable Gilbert Domally as Harpo. Their slapstick comedic chemistry during “Any Little Thing” is scintillating, a true gem of the show.
Aerie Williams brings combustible charm to her portrayal of the legendary singer and local loose woman Shug Avery, who illuminates Celie’s way out of the darkness. Williams is magnificent: Broad and bawdy in one moment in numbers like “Push Da Button,” dancing in velvet with feathers and fans, yet tender and deeply emotive in “Too Beautiful for Words,” as she gently yet sternly mothers Celie toward self-respect without becoming trite.
A few minor quibbles: In the very beginning, the pace of storytelling is a bit frenetic, hopping from one transition to the next, as if checking items off a list. For example, the moment when Celie’s child is snatched from her arms like a fumbled football pass feels perfunctory and almost comedic. The audience barely has time to register the gravity of the moment before being whisked to the next. At times the transitional music clashes tonally with the action onstage, but that is the fault of the score, not the excellent orchestra. Directed by Jermaine Hill, the musicians deserve their own standing ovation.
Overall, the musical is close to perfection, filled with outstanding performances and heavenly gospel voices. Numbers like “Miss Celie’s Pants,” where the women prance around in plaid trousers, and “Hell No!,” where Sofia gives Celie ribald instructions on how to grow a backbone, keep the laughs threaded through the sobering themes of abuse. Walker’s work has sustained its relevance through its compassionate portrait of Black girlhood and womanhood. Its focus on sisterhood, feminism and perseverance continues to resonate and uplift, while delving into grief and faith in a manner that doesn’t flinch.
If you’re feeling less than patriotic on this Independence Day, “The Color Purple” will fill your heart with the spirit of freedom.