“The Color Purple,” at the National Theatre, has an impressive family tree. First there was the Pulitzer Prize-winning book by Alice Walker. Then there was Steven Spielberg’s film. Now there is a new musical that is both like and unlike previous incarnations, that is an epic, megawatt work in its own right. The action takes place in Georgia between 1909 and 1949. It begins by establishing the love and affection that exists between two young sisters, 14-year-old Celie (Dayna Jarae Dantzler) and her younger sister Nettie (Traci Allen). That bond is all Celie has in life, but her happiness is destroyed when she is forced to give up her babies, is sold into marriage to a man who beats her, and is forcibly parted from Nettie.
The musical’s long time span allows for a lot to happen in “The Color Purple,” but the real movement of the musical has less to do with actual events than it does with the changes in Celie’s soul.
| “The Color Purple” |
| Book by Marsha Norman |
| Music and lyrics by Brenda Russell, Allee Willis and Stephen Bray |
| The National Theatre, 1321 Pennsylvania Ave. NW |
| 7:30 p.m. Tuesday to Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, 7:30 p.m. Sunday; through April 24 |
| Tickets start at $51.50 |
| 800-447-7400 |
| nationaltheatre.org |
At first, she is angry at having been abused and fearful of the man to whom she is married. But by the end of the musical, Celie has learned from the women around her, particularly the forceful Sofia (Pam Trotter), who teaches her to stand up to the world, and the glamorous Shug Avery (Taprena Augustine), who teaches her to appreciate beauty and sensuality.
“The Color Purple” includes musical styles to satisfy every taste: blues, jazz, ragtime, gospel. There are funny songs (“Hell No!”), gentle ballads (“Too Beautiful for Words”) and suggestive numbers (“Push Da Button”).
It dazzles with Donald’s Byrd’s intricate choreography, which is executed brilliantly by a large chorus of young men and women. Particularly good are the energetic dance scenes set in Africa, inspired by Nettie’s letters to Celie after Nettie has gone to Africa as a missionary. John Lee Beatty’s sets suggests a rural scene with delicate, abstract details, like lacy green trees.
Director Gary Griffin creates an upbeat tempo from the start and he gets extraordinary performances from all his singers. Allen’s strong voice and stage presence are essential to creating the bond between the sisters. Lil’ Mo, a local R&B star, adds energy to the role of Church Soloist, and Augustine is a knockout as the sultry Shug Avery.
But finally it is Dantzler who illustrates the importance of attachment in her love for her sister and who makes the final reunion of Celie and Nettie so touching. It is Dantzler, because she has created such a sensitive and realistic portrait of the girl who begins with nothing and ends up independent and knowing herself and her limits, who makes this “Color Purple” so intensely moving.
