Friday 19 February 2021

The Color Purple At Home - Review


Book by Marsha Norman
Music & lyrics by Brenda Russell, Allee Willis and Stephen Bray
Directed by Tinuke Craig

T'Shan Williams

In a stunning fusion of musical theatre and ingenious photography, Curve Leicester together with Birmingham Hippodrome have revived their 2019 production of The Color Purple, re-imagining the show not only for a cast that must now be socially distanced, but for a remote audience confined to a digital stream.

A couple of months ago Curve streamed their gorgeous Sunset Boulevard, in so doing giving the locked-down theatre world new ways to dream. Building on the success of that show, The Color Purple proves to be close to flawless in director Tinuke Craig’s streamed screen translation. Simply staged, deploying the Curve’s revolve, minimal props and a handful of superimposed scene-setters,  Craig relieves her actors and musicians free any supportive gimmickry, letting her company that has been cast to perfection, tell the story with their talents.

T’Shan Williams leads as Celie, making this most complex of roles, her own. Essentially a modest and unglamorous character, Celie has to thrive in the show based solely on her performer's ability to act and sing (and briefly, deliciously, dance). And in Craig's take on the show, Williams delivers her Celie with a heart-breaking strength and perception. Where typically, a musical theatre performer has to deliver to a large, distant (albeit live and present) audience, in a streamed show, much like in the movies, it's also about the close-ups too. Williams' acting – through speech, song and movement, hits the mark every time. 

Carly Mercedes Dyer

Vocally, Williams is a class act – not just in Celie’s powerful final solo I’m Here, but perfectly duetting with Carly Mercedes Dyer’s Shug Avery in What About Love. Dyer herself is but one of a cast that drips with performers chosen solely for their ability. Avery is another enigmatic woman, with Dyer capturing her magnetism and vulnerability. Also outstanding in their supporting roles are Karen Mavundukure’s tragi-comic Sofia and Danielle Fiamanya as Nettie.

Danielle Fiamanya and Ako Mitchell

Amongst the men, Ako Mitchell delivers one of the finest interpretations of Mister. Another complex character, initially the most vile and misogynistic of men who by the finale is transformed via a heroic redemption,  Mitchell brings both menace and pathos to his performance in equal measure. And credit where it is due - alongside the few individuals named in this review, there is excellence everywhere from all the performers on stage.

Craig’s creative crew are equally talented. Mark Smith's choreography is inventive and inspired, recognising the challenges of our times with movement across the show that is both thrilling and immaculately nuanced. Alex Parker musically directs the 7 piece band with his usual flair. Their interpretation of the score is a delight with a particular mention to Ben Fletcher’s work on guitars. Ben Cracknell lights the massive Curve space with a mixture of both intimacy and passion, while the video crew from Crosscut Media are fast becoming experts in this  niche field of taking live work and re-engineering it for transmission. 

Hopefully the Curve – along with the rest of the nation’s theatres – will be welcoming the return of live audiences in the not too distant future. Until then, streamed productions such as The Color Purple At Home are the pinnacle of outstanding musical theatre.

The production streams until 7 March - Tickets available via
Photo credit: Pamela Raith

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