The Color Purple ****

I wasn't even tempted to see the 2005 production and would have skipped this one as well if not for the almost uniformly enthusiastic reviews. I have mixed feelings about John Doyle’s previous stripped-down versions of musicals, but this production, which originated at London’s Menier Chocolate Factory, gets it right. By concentrating attention on the show’s talented performers and the lively gospel-inflected score, Doyle has come up with a production that packs an emotional wallop. The superb cast act and sing at a very high level. Tony winner Cynthia Erivo is riveting as Celie, from the abused pregnant 14-year-old to the middle-aged businesswoman she becomes. When she sang “I’m Here,” she brought the house to its feet. Just as good is Heather Headley, who replaced Jennifer Hudson as Shug Avery, the sexy songstress that no-one can resist. Her version of “Push da Button” is a knockout. Their duet at end of the first act, “What about Love,” is breathtakingly beautiful. Danielle Brooks is a powerhouse as Sofia; her “Hell No!” is a highlight. Joaquina Kalukango impresses as Celie’s sister Nettie. Isaiah Johnson is a strong Mister and Kyle Scatliffe is amusing as his son Harpo. Marsha Norman’s book has a lot to cover in a short time, but mostly succeeds in capturing the essence of Alice Walker’s novel. Since I had never heard of any of the composer/lyricists — Brenda Russell, Allee Willis and Stephen Bray — I was pleasantly surprised by the quality of the score. Doyle’s set consists of a wall of rough planks hung with spindle-back chairs that are removed from the wall and used as needed. Except for a few large wicker baskets and some fabric, they are the only props. Ann Hould-Ward’s costumes are appropriately drab in the first act and colorful in the second. Doyle was recently appointed artistic director at Classic Stage Company. After suffering through his version of “Peer Gynt” there recently, I had my doubts about the future of CSC. What he accomplished here gives me new hope. Running time: 2 hours, 30 minutes including intermission.

Far from Heaven **

(Please click on the title to see the complete review.)
Todd Haynes' 2002 film tribute to Douglas Sirk's lush melodramas of the 1950's must have seemed like suitable material for a musical, but the current adaptation with book by the ubiquitous Richard Greenberg, music by Scott Frankel and lyrics by Michael Korie does not make the case. Despite fine performances by Kelli O'Hara, Stephen Pasquale and Isaiah Johnson in the leading roles, this production, now in previews at Playwrights Horizons, falls flat. One hopes that paring down a screenplay to make room for songs that will amplify emotions and/or move the plot along will yield a net gain. In this instance, at least for me, the results diminish rather than enhance the film. I missed the film's gorgeous cinematography that went so far to create the feel of suburban Connecticut in 1957. The basic story of a seemingly perfect marriage destroyed by the husband's homosexuality and the wife's friendship with her black gardener is still there, but the weaknesses in the plot seem more nakedly exposed here. The music and lyrics are far from memorable. Allen Moyer's Mondrian-like set is complemented by Peter Nigrini's projections. Catherine Zuber's costumes are period-appropriate. Kenneth Posner's lighting is especially fine. I hoped that Frankel, Korie and director Michael Greif, the people who had a great success at Playwrights Horizons with another film adaptation, Grey Gardens, would strike gold twice. Unfortunately, they have not. Running time: two hours, 25 minutes including intermission.