Flying Colors

The musical adaptation of The Color Purple does Alice Walker's classic superb justice.

by David Anthony Fox

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I'm about to tell you that this is a terrific, heartwarming show — but first, I can't help griping that the Web site insists on calling it "Oprah Winfrey Presents The Color Purple." As in, that evening I ate at "Doubletree Hotel Serves Cobb Salad," and later watched "TNT Reruns Law & Order." Sheesh.

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I'll admit I thought it was a strange (read: bad) idea to make a musical of Alice Walker's beloved novel, the tale of Celie and Nettie, destitute black sisters from rural Georgia, who over a period of several decades endure almost everything life can hurl at them. Would it be reduced to mere melodrama? Happily, Marsha Norman's book preserves much of the raw power of the original, as well as Walker's complex portrayal of sexuality. Some of it is necessarily simplified, and occasionally I was confused by the timeline. But the important parts come through loud and clear — as they do (loud especially) in music and lyrics by Brenda Russell, Allee Willis and Stephen Bray. Early on, the score is operatically scaled, full of anthems that carry (and occasionally bury) the narrative flow. As The Color Purple moves on, the spoken dialogue takes on central importance, and the songs more conventionally punctuate big moments. It might be uneven, but somehow it all works together. And it gets better as it goes along.

Much of The Color Purple's success lies in its first-rate presentation — from John Lee Beatty's earth-toned sets that shift locations on a dime, to Paul Tazewell's costumes that are a subtle reminder of the changing circumstances. Most of all, there's an acting/singing/dancing ensemble of tremendous skill and presence. This touring company is as good as any, and features Felicia P. Fields, whose Tony-nominated turn in the original remains the biggest crowd-pleaser of the evening. But really, everybody is just great.

And of course, there's our unseen-but-significantly-present titular producer. Yes, The Color Purple has been Oprah-fied, notably in the overemphasis on how inner empowerment can help us cope with anything. (Really — it can't.) Still, who could not be moved by the wonderful final scene, and many moments along the way? This is one standing ovation that is profoundly, truly felt.

(d_fox@citypaper.net)

The Color Purple | Through July 13, Cadillac Broadway at the Academy, 1420 Locust St., 215-731-3333