Review: Fine Cast Saves THE COLOR PURPLE From John Doyle's Bloodless Direction

Those who recall the inexplicable "curtain of chairs" from last season's wildly messy musical version of DOCTOR ZHIVAGO may get a dreaded sense of déjà vu walking into the Jacobs these days for director John Doyle's bloodless, concert-like revival of The Color Purple; a production that is fortunately saved by the talent and commitment of its fine ensemble of leading ladies.

Upstage center, climbing from the boards to the flies, is a wall oF Brown wooden planks, designed by Doyle, covered head to toe with brown wooden chairs. Lots of chairs. Granted, a bunch of the reachable ones are removed for use during the performance but does this dominating visual plainly represent anything in MarSha Norman's book or in the score by Brenda Russell, Allee Willis and Stephen Bray? Hell, no.

While actors doubling as the orchestra, the concept Doyle is best known for, is eschewed here, his other frequently used techniques - staging that limits personal connections between characters and production values that don't clearly communicate locations - are out in full force. Granted, this production originated at London's modestly-sized Menier Chocolate Factory, so a bit of scaling down is to be expected, but the orchestrations could at least be restored to their original 18 pieces instead of remaining at six.

MarSha Norman's book is a straightforward narrative taken from Alice Walker's 1982 Pulitzer-winning novel of early 20th Century rural Georgia, centered on the sexually and emotionally oppressed Celie (Cynthia Erivo), who is continually raped and enslaved by the men in her life. Alphonso (Kevyn Morrow), the man she believes to be her father, impregnates her twice and both times takes the babies away to somewhere unknown. Celie's taken to be married by a man she calls Mister (Isaiah Johnson), who really wanted to marry her sister Nettie (Joaquina Kalukango), but took Celie when her father offered to throw in a cow.

Celie heroically endures hardships to protect Nettie, but finds respect and sexual pleasure with the enticing and free-spirited lounge singer Shug Avery (Jennifer Hudson) and independence creating a successful line of designer pants. A subplot involves the strong-willed Sofia (Danielle Brooks), who marries sensitive lug, juke joint owner Harpo (Kyle Scatliffe).

The score pushes all the expected buttons for this type of venture, covering gospel, blues, jazz and a bit of period showtune, leading up to Celie's forceful dramatic solo in the 11 o'clock spot. And while The Color Purple's written material is rather standard, there's undeniable emotional pull in Walker's story, and the popularity of both the novel and Steven Spielberg's 1985 film adaptation certainly helps sustain interest.

One of the more exciting aspects of The Color Purple is that it offers a rare opportunity for three women of color to play complex leading roles while men are regulated to support. British star Erivo gives an exemplary acting performance, taking the self-sacrificing Celie on a journey discovering her self-worth. It's an oddly underwritten role in the first act, in need of stronger musical moments to establish who she is. Doyle's smartest move is to plant her front and center for her powerhouse, "I'm Here," where the actor builds to an emotionally tense moment of silence, followed by a beautiful revelation.

Hudson seems to be having a marvelous time playing Shug Avery as a model of elegance and charisma. Brooks nails all of Sofia's fun moments; her defiant solo "Hell No!," a feisty comedy song with Harpo and a sudden second act emergence from a low point.

Whatever the shortcomings of the writing and direction, these three women, all making their Broadway debuts, help ensure there'll be plenty to cheer for.