BWW Reviews: Circle Players and TSU Theatre's THE COLOR PURPLE Inspires and Enthralls

With a trio of outstanding performances from its three leading ladies, Circle Players’ production of The Color Purple is a prime example of the heights community theater can achieve through an artful blending of ambition, creativity and strong casting choices. Presented in collaboration with Tennessee State University’s theatre program, the musical retains all the heartfelt emotion, the enduring beauty and the constant reminder that the heart is indeed larger than the world in which it exists that we first experienced in Alice Walker’s remarkable novel, then later in Stephen Spielberg’s deeply affecting film adaptation.

Under the clear and focused direction of Tim Larson and Clay Hillwig, who heretofore separately have provided Nashville audiences with a number of impressive theatrical adventures, this evocation of The Color Purple is made all the more appealing by its trio of leading ladies—LaToya Gardner as Celie, J. Karen Thomas as Shug Avery and Cristina Fentress as Sofia—each of whom deliver terrific performances that are made all the more compelling and relevant when compared to the other actresses who have come before them to bring these beloved characters to life.

Gardner, who this year has added some of musical theater’s most electrifying roles to her resume (including her recent star turn in Circle Players’ Aida and her appearances in Crowns and Caroline, or Change), completely cloaks herself in the character of Celie, resulting in a moving performance that is startling in its intensity, heartbreakingly genuine in its delivery. The beautiful Gardner somehow makes herself plain to play the self-effacing Celie, capturing her character’s ability to hope and dream even in the deepest haunts of despair. Her superb and believable interactions with her co-stars give further proof that Gardner is one of Nashville’s finest actresses and her rendition of Celie’s anthemic “I’m Here” is as soul-stirring as ever in her capable hands.

As the sexy, sensual and vampy Shug Avery, Thomas makes a return to the Nashville stage after far too long an absence in a role that seems tailor-made for her. Her tremendous stage presence makes her the ideal choice to play Shug and she exudes a confidence that allows her to play the character’s lowest points and her greatest heights with nary a sense of false theatricality. Thomas’ performance of “Push Da Button” is as good as any we’ve heard since the show debuted on Broadway in 2005. Thomas, who is cast as a recurring character on ABC’s Nashville television series, previously made a name for herself on the Nashville stage some years ago prior to a move to the West Coast.

As good as both Gardner and Thomas are, however, it’s Fentress’ irascible Sofia who very nearly steals the show from her estimable co-stars. From her very first onstage appearance—when the confident Sofia comes a’calling at Mister’s farm, her big belly arriving before she does—Fentress takes on her role with a graceful self-assurance that recalls Oprah Winfrey’s in the movie while making the role her on. Throughout the rest of the show, Fentress’ quick wit and surefooted movements ensure that Sofia will endear herself to the audience.

Cast as the primary men in the company, James Rudolph (as Mister) and Justin Boyd (as Harpo) deliver finely delineated portrayals that go beyond the script-bound conventions to create genuinely effective characters. As a longtime member of the local theater community, it’s wonderful to see Rudolph taking on the challenge of portraying such an unlikable character (who, truth be told, morphs into so much more than you might expect if your only reference is the movie version of the story) with a sense of grace. He excels, proving himself much more adept an actor than other roles have allowed. Boyd is perfectly cast as Harpo, playing him with a blend of boyish charm and gullibility and a man’s notion of what it means to be a man in the world in which he lives. Both actors shine in their onstage relationships with the trio of powerful female figures created by Walker.

Among the myriad of characters who people the landscape of The Color Purple’s storytelling, Kelsey Porter is lovely and strong-willed as Celie’s beloved sister Nettie, capturing her character’s strength and sense of purpose with ease. And Sherre Miller Bishop—whose history with Circle Players goes all the way back to her performance as Lutie Belle in the company’s production of Purlie a long time ago (she hasn’t changed a bit)—Chessani Scott and Irene Tidwell are wonderfully appealing as the trio of church ladies who serve as a type of Greek chorus, commenting musically on the action as it unfolds. Deaundrea Walker is impressive as the church soloist, while Krystal Nichols is delightfully on-target as Squeak and Antonio David (as Ol’ Mister) makes the most of his limited time onstage, Shug Avery’s pee notwithstanding.

Music director Eddie Charlton has all his performers in fine voice, while Larson and Hillwig’s direction moves the play’s action along at a good pace and their ability to cast the roles well ensures that audiences will get the full impact of The Color Purple despite some opening night problems that will likely be ironed out in time for later performances. However, those problems, however minor, nonetheless distracted from the show’s overall success. There were some missed lighting cues (or more accurately, some actors likely couldn’t find their light), sound problems persisted throughout (not the least of which was the fact that the orchestra dominated the singers, particularly in act one, so that many of the lyrics were lost somewhere in the upper reaches of the TSU performing arts center) and some of Peter Fields’ otherwise superb choreography was marred by a lack of cohesion (far too often you could see unseasoned performers calling on their memory banks to recall a step or movement).

Any incongruities in the production are due, rather obviously, to the varying levels of experience and confidence among a cast filled with community theater performers, college students and professional actors. To their credit, however, Larson and Hillwig have all members of the ensemble on the same page and their excitement and enthusiasm for the material is palpable. You cannot help but be caught up in the sense of joie de vivre exuded by the members of the capable cast.

Caleb Burke’s imaginative scenic design is lovely, easily and artfully transforming the stage into all the various sites in Marsha Norman’s book for the musical, and Nathan Ray’s lighting design illuminates the action and focuses the audience’s attention. Special notice must be given to costume designer Jennifer Kleine who dresses her large company of actors with a definite sense of style and fashion (but I can’t help but ask: Why are there two women in the “Miss Celie’s Pants” number clad in dresses?).

Circle Players and TSU are to be commended for taking on the challenge of bringing this musical masterpiece to the stage with a sense of complete and utter courage. Together they serve the material well, and every scene plays out with conviction and a sense of theatricality that makes it all the more accessible. From start to finish, the company takes you on a veritable roller coaster ride filled with heartfelt emotion. Don’t forget to bring a handkerchief along.

• The Color Purple. Based upon the novel by Alice Walker and the Warner Bros./Amblin Entertainment Motion Picture. Book by Marsha Norman. Music and lyrics by Brenda Russell, Allee Wills and Stephen Bray. Directed by Clay Hillwig and Tim Larson. Music direction by Eddie Charlton. Choreography by Peter Fields. Presented by Circle Players and Tennessee State University’s Theatre Program. At TSU’s Performing Arts Center’s Cox-Lewis Theater, Nashville. Through November 4. For details, go to www.CirclePlayers.net. For reservations, call (615) 332-7529.  

photos by Mandy Whitley Photography

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