Review: THE COLOR PURPLE at Garden Theater

His eyes bulged in anger, his face was purple with rage and his forehead wet with a combination of rain and sweat. He continued to beat on the window and berate his companion. “You humiliated me! Embarrassed me! Don’t you know I could have you arrested for assault and sent to jail?”

This is not a scene from the Short North Stage’s THE COLOR PURPLE, which runs Jan. 18 through Feb. 18 at the Garden Theater (1187 N. High Street in downtown Columbus) but rather, unfortunately, a case of life imitating art in the parking lot outside the theater.

It is a painful reminder of why the world needs shows like this powerhouse musical by Marsha Norman (book), and the trio of Brenda Russell, Allee Willis, and Stephen Bray (music and lyrics).

Directed by Vasthy Mompoint, choreographed by Lisa Glover, and orchestrated by Malik Khalfani, this two and a half hour, two-act show chronicles cycles of domestic abuse that runs from the late 1800s through the 1930s.

Since Alice Walker published the novel in 1982, THE COLOR PURPLE has shapeshifted from a novel to a megahit movie (1984) to a Broadway musical (2006) to finally a musical film (2023). Walker’s story is like a snowball rolling down a mountain, gaining more traction, speed, and power the farther it travels.

Arielle Crosby is the lynchpin in the SNS production, playing the lead role of Celie. At the start of the musical, Celie is 14 and pregnant and her father (Darius Fincher) is the baby’s father. Mister (Sean Walton), a whip wielding widower, approaches her father to marry Celie’s younger sister Nettie (Alloria Frayser). Father suggests he marry Celie instead and when the suitor refuses, Father throws in a cow to sweeten the offer.

Crosby, who ages from 14 to 50ish in the two acts, forcefully carries the role. She is mesmerizing with her spot-on solos, “Somebody Gonna Love You,” and “I’m Here.” She also plays well with others in the duets with Shug (Bessie Smith) in “What About Love?” and a trio with Nettie and Mister in “Our Prayer.”

Mompoint’s cast is overflowing with talented women. Frayser, Smith, Tirzah Washington (Sofia), and Laura Overby (Squeak) each bring their own signature moment to the show while Sydnie Liggins, and Winnona Maddrey play solid supporting roles.

Smith brings a sultry saltiness to her role as Shug, who ends up having affairs with both Mister and Celie. Washington’s fiery Sofia celebrates her refusal to be broken by the men in her life in “Hell No” but ultimately, she is betrayed by the women in the show. One of the crowd favorites is the church gossip trio of Deaun Parker, Melissa Victor, and Ariyah Wallace. The three serve as a Greek chorus, expounding on the show’s events in “Mysterious Ways” and “Miss Cellie’s Pants.”

Men don’t come off as likeable in Walker’s story or Norman’s script. The ever-animated Shaq Hester, who supplies one of the lighter, comedic touches of the show as Harpo, is one of the only consistently enjoyable male characters.

From the first step he takes onto the stage, Walton is as venomous as Crosby is loveable, which makes his transformation at the end of the play so astonishing.
Marshawn Clodfelter, Khordel Jackson, and Nicholas Wilson provide the bright colors in the show’s rich tapestry, particularly in “Big Dog.”

A solid band of Khalfani (keyboards), Tom Regouski and Logan Moore (reeds), Lance Witty (trumpet), Zsolt Dvornik (guitar), Josh Newburry (bass) and William Mayer (percussion) keep the soundtrack on track.

Granted, a show about domestic violence and oppression doesn’t sound like a cheery night at the theater. Here’s what makes the show work. Russell, Willis and Bray’s music and lyrics, especially in the opening three numbers, are about as uplifting as one can get in a show.

Secondly, there are opportunities for redemption for every character, including Mister in the show. That’s something sorely needed, not just in THE COLOR PURPLE, or musicals, but also in the parking lots in the world outside them.'

Photo credit: Fyrebird Media

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