Displaying items by tag: Alice Walker

In the Goodman Theatre’s stirring new production of The Color Purple, director Lili-Anne Brown delivers a version of Alice Walker’s landmark novel that feels both stripped down and soulfully expansive. Forgoing spectacle in favor of raw emotional clarity, Brown places the story’s heart—female resilience and love—center stage, and the result is a deeply moving, musically rich, and spiritually resonant experience.

Performed on a minimalist wooden set, this production doesn’t rely on lush visuals or elaborate scenery. Instead, it trusts in the power of storytelling, character, and song to carry the audience through Celie’s journey. And Brittney Mack, as Celie, is a revelation. Her performance is layered and honest, tracing Celie’s transformation from a silenced, abused girl to a self-possessed, radiant woman with astonishing depth and grace. Mack’s voice, vulnerable and strong in equal measure, anchors the production emotionally and thematically.

What sets this Color Purple apart is Brown’s unflinching loyalty to the spirit of Walker’s novel. Where some adaptations have diluted or sidelined the central theme of same-sex love, this one centers it. Celie and Shug’s relationship is not a footnote—it’s the story’s spiritual awakening. Aerie Williams as Shug Avery brings magnetic charm and fierce tenderness to the role, particularly in the aching duet “What About Love,” which becomes a quiet act of liberation for Celie. In this production, purple is not just a color—it’s a symbol of the love between women, of beauty that exists even in suffering, and of a life finally chosen on one's own terms.

Nicole Michelle Haskins brings fierce humor and unbreakable will to Sofia, commanding the stage with her booming presence and crystal-clear purpose. Her scenes with Gilbert Domally’s affable and conflicted Harpo pulse with humor and tension. Evan Tyrone Martin as Mister and Sean Blake as Ol’ Mister embody the failure of patriarchy to extinguish women’s light. The men here, barely even named, are forces to resist rather than understand—an intentional move that mirrors Walker’s narrative framing.

Musically, the show is a triumph. Jermaine Hill’s musical direction allows the score—by Brenda Russell, Allee Willis, and Stephen Bray—to soar. From the quiet yearning of “Somebody’s Gonna Love You” to the exuberant defiance of “Push the Button” and “Big Dog,” every number drives the story forward with emotional precision. Breon Arzell’s choreography adds joy to even the darkest moments, reminding us that Black joy, even amidst oppression, is a radical act.

By centering the relationships between women—mothers, sisters, lovers—and embracing the spiritual and sexual awakenings that shape Celie’s story, this Color Purple finds new life and renewed purpose. Brown doesn’t simply direct this musical; she honors it, restores it, and reminds us why this story still matters. It’s not just about surviving trauma—it’s about reclaiming beauty, pleasure, and love on your own terms.

In a world that often asks Black women to be strong for others, this Color Purple says: be soft, be bold, be free. And be seen—in all your brilliance.

Top of Form

Highly Recommended

When: Through Aug. 3
Where: Goodman Theatre, 170 N. Dearborn St.
Tickets: $33-$143
Run time: 2 hours, 50 minutes
Info: goodmantheatre.org

*This review is also featured on https://www.theatreinchicago.com/! 

Drury Lane brings Alice Walker’ 1982 novel ‘The Color Purple’, which found major success as a film in 1985, to the stage in what is sure to be a memorable experience for theatre goers. After its opening night performance, many who had seen either the Broadway run or national touring version of the classic story, emphatically stated that Drury Lane’s production is the best they have ever seen. That’s saying something.

 
The story takes place in the early 1900’s and continues through about halfway through the century. Following the journey of Celie, an African American woman in the American South, we get a story of heartbreak, unspeakable atrocities and more importantly that of hope and perseverance. Still a child, Celie has two children by the age of fourteen – both by her father, Alphonso. Not long after her second child is born; her father tells Celie he is going to get rid of the child just like he did with the first. Celie’s only comfort is in spending time with her slightly older sister Nettie and the two vow to never leave each other’s side. 

But four years later, a local farmer, Albert “Mister” Johnson asks Alphonso to have Nettie’s hand in marriage. Alphonso refuses, but offers up Celie instead, who is constantly referred to as “ugly”. Mister doesn’t bite but finally accepts when Alphonso throws in a cow. Mister, who had helped Nettie pursue her dream of becoming a teacher, also takes Nettie in shortly after she pleaded to stay with him and her sister alleging Alphonso is mistreating her. Mister accommodates Nettie, but always having eyes for her, attacks her one day and when she fights back is sent away along with the promise the two sisters will never see each other again. Once again, Celie finds herself in what turns out to be abusive relationship with a much older man.

It seems hopeless for Celie until a racy lounge singer comes into their lives – Shug Avery.

From there the story takes on many directions and we wonder if Celie will ever see her sister again or be released from the clutches of Mister.

 
With an already powerful book by Marsha Norman and music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, the direction by Lili-Anne Brown and gifted cast assembled puts this production over the top. Eben K. Logan is stupendous as Celie in every way as we are hopelessly drawn into her character one moment and marveling at her vocal ability the next. Logan is a true find and leads this amazing cast that also features Sydney Charles who brightly shines as Shug Avery, Nicole Michelle Haskins whose moving portrayal of Sofia truly resonates and Melvin Abston who is nothing short of commanding as Mister. The cast rounds out with an incredibly skilled ensemble that features Drury veterans Adhana Reid and Lorenzo Rush Jr. along with Camille Robinson, Jos N. Banks and a host of other talents. Kyrie Courter is just wonderful as Nettie while Gilbert Domally’s Harpo couldn’t be better. 

Besides a powerful story that is sure to move its audience members, it contains one enjoyable musical number after another from its title song “The Color Purple” to touching numbers like “What About Love” and “Somebody Gonna Love you”.
Drury Lane’s ‘The Color Purple’ is engaging from beginning to end as it retells a classic story of strong will and courage.

Highly recommended.

‘The Color Purple’ is being performed at Drury Lane Theatre in Oakbrook through November 3rd. For tickets and/or more information, visit www.drurylanetheatre.com.  
 

When I first saw The Color Purple more than a decade ago, it was the touring company that, at the time, featured American Idol singer Fantasia Barrino. Ten years ago seems like such a simpler time – a time in which the show’s star power and striking sets were the draw, a time where the play’s message was of course crucial and necessary, as it was 30 years ago when the film was made, or a few years before that when Alice Walker published her Pulitzer-winning novel that formed the basis for the motion picture and the musical. But ten years on, the current touring production of The Color Purple is one stripped of all frills, and more needed, as it present its stripped-down and powerful message at a time when our world has changed so much, in both the voices trying to tear it down, as well as those calling for positive change.

The show is playing at Adler and Sullivan’s masterpiece, The Auditorium Theater, usually quite a place to see a show. But I’ll get my sole nitpick out of the way here, and it has to do with the size of said theater. With the stripped-down feel of this production, the Auditorium’s vastness swallowed the show’s sights and sounds at times – the bare-bones set feeling small on the huge stage, the music finding its way into far-off corners and crevices.

That being said, the benefit of the above complaint is that the show’s power – both from its story and this cast – is allowed to shine. When the audience isn’t focused on nifty set-pieces and faces once seen on the TV screen, the message and the messengers become the focus.

First, the messengers. The cast is wonderful. Adrianna Hicks leads the way as Celie, going from beaten and beaten-down to proud and powerful. As the character finds herself and her own self-worth, Hicks stands a little prouder and sings a little louder. The source of much of Celie’s woe, Mister, is played by Gavin Gregory, whose voice cuts through the Auditorium’s enormity, and who plays the reverse of Celie’s route – from dominant to defeated – every bit as well as Hicks’ onstage journey. Carla Stewart is saucy and sassy as juke-joint sensation Shug Avery. N’Jameh Camara is stunningly innocent as Celie’s long-lost sister Nettie. And J. Daughtry provides much-needed levity as Mister’s son Harpo. As Harpo’s wife Sofia, Carrie Compere steals the stage whenever she takes it, as a strong woman of color – in a time when women of any color dared not show strength – who had the audience rooting and roaring for her.

But The Color Purple’s message is what really grabbed the Auditorium’s audience – people who are today trapped in a world where injustice grows, the weakest and neediest are not only ignored but abused, and things only seem to grow darker by the day. It’s a message that change can happen, if the good speak out and act out. It’s a message that love can win. And it’s a message that this production of The Color Purple shouted out to the theater’s rafters, leaving the theatergoers on their feet.

The Color Purple is only here on a limited run through July 29th. For tickets and more show information visit www.broadwayinchicago.com.