Review: VIOLET Is A Heartwarmingly Beautiful Journey Of Healing And Enlightenment
By: Jade Kops Dec. 03, 2015
Wednesday 2nd December 2015, Hayes Theatre, Potts Point
VIOLET is the poignant and powerful story of self-discovery as a young woman embarks on a cross country bus trip to heal the scars of her past and attain the beauty of movie stars. Jeanine Tesori and Brian Crawley's musical, based on Doris Betts book THE UGLIEST PILGRIM, is bought to life with tenderness and humor by director Mitchell Butel for its Australian Premiere.
Set designer Simon Greer has created a fabulous space for the cross country bus journey from North Carolina to Oklahoma. A giant postcard of a long open road across the plains of Central America, a bitumen tapering off in the distance and a representation of the old polished metal Greyhound Buses that served the budget travelers in the 60's. Additional simple items allow the space to be transformed from a bus stop to the bus, diner and the television Evangelist's studio stage, amongst other locations along Violet's journey. Paired with Lucetta Stapleton's costumes, the audience is transported to working class Middle America in the mid 1960's.
The story follows Violet Karl (Samantha Dodemaide), a woman in her mid 20's who carries the facial scars of a childhood accident, as she seeks divine intervention to remove her scars and make her beautiful. As she deals with nosey and insensitive passengers, she eventually befriends two fellow travelers, an African American Sergeant in his 30's, Flick (Barry Conrad), and a younger Anglo-Saxon Corporal, Monty (Steve Danielsen). She shares her hopes that a Television Preacher will make her beautiful, like the Hollywood stars she sees in movies and magazines in-between retreating into her own memories of her childhood, told through a Young Violet (Luisa Scrofani) and her late Father (Damien Bermingham).
Told through a wonderful blend of musical styles under the direction of Lucy Bermingham (Musical Director), including gospel, Memphis blues, and bluegrass, many not often heard in mainstream musicals, VIOLET is more than just a bus trip. This is Violet's journey of growth and understanding as she discovers that looks are not everything; an important message in today's society that constantly places an unhealthy importance on outward beauty rather than inner beauty. It also addresses race issues as Flick highlights that he'll never be given the opportunities Monty will, purely based on the color of his skin, an issue that is still as relevant now as it was in the 1960's. Both Violet and Flick have learnt to deal with the prejudice and fear the feel from others but it takes the trip for Violet to see past her own problems.
As Violet, Samantha Dodemaide captures the complexity of the young woman that has had to protect herself from a cruel, judging world for years yet has optimism, hope and belief in the TV Preacher and the tenacity to go and seek the healing she feels she needs. Whilst Violet's disfigurement is not physically portrayed, Dodemaide's grasping at her face expresses her insecurity whilst still ensuring the audience fully connects with Violet's true nature rather than get caught up on appearance. She has warmth and an energy in her vocals which supports her hopefulness and delivers the dry sarcasm she uses to defend herself highlighting the range of emotions Violet feels. She is well matched with Luisa Scrofani as Young Violet who captures the innocence and pain felt when the scar was still new and presents the buoyant counterpoint to older Violet in Water In the Well where we see the ongoing obsession with appearance and getting boys to like her.
Barry Conrad gives Flick a sensitivity and honor as the Army Sergeant that understands being on the receiving end of prejudice. His sound has a purity that matches with his well-mannered behavior as he first sees Violet on the bus and wants to talk to her. He has a power and passion as he sings the encouraging and uplifting Let It Sing. Flick's optimism in the face of adversity is countered by Steve Danielsen's portrayal of the privileged white Monty who knows he is good looking, can get girls, and knows that he can strive for anything he wants to be, including a Special Forces, Green Beret.
Special mention also goes to Damien Bermingham as Violet's father. Whilst we initially see the father as a gruff country farmer, there is tenderness as he does what he can to raise his daughter alone. His poignant That's What I Could Do is heart wrenching and tear inducing in its exposed emotion filled with purity and sensitivity.
This is a wonderful musical that deserves better recognition for both its music and its content and Butel, his cast and creatives have done a brilliant job bringing it to the Sydney Audience. Butel has ensured that his characters, whilst being stereotypes, don't turn into grotesque caricatures. Even Alice, the Lady of the Night (Genevieve Lemon) and Linden Furnell's enthusiastic choir boy still remain likable in their comic portrayals. There is an attention to detail in the looks and gestures, and even the game of poker.
For anyone that has ever felt they wanted to be someone else, look different, and 'fit in', and even for those that did feel they 'had it all', VIOLET will touch your soul. This is a Must See performance and whilst Mitchell Butel is a favorite on stage, hopefully he will share his vision and wisdom by directing more shows.
Hayes Theatre, 19 Greenknowe St Potts Point
Friday 27th November - Sunday 20th December 2015
Photos: Grant Leslie
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