The Color Purple — Photo: Courtesy Warner Bros. Pictures
Blitz Bazawule’s vibrant movie musical The Color Purple often succeeds as a thoughtful fusion of two other adaptations of Alice Walker’s landmark novel that still confidently hums its own tune.
In shakier moments, though, confidence gives way to nostalgia, when the film hammers home its reinterpretations of quotable scenes and dialogue from the Quincy Jones-produced, Steven Spielberg-directed 1985 adaptation with an insistence that borders on flashing “Hey, remember this?” in bold type onscreen.
Creating and saying something new with such proven material, while also purposely coaxing audience sentiment for a beloved original, surely posed a formidable challenge for Bazawule and company. And having Jones, Spielberg, and Oprah Winfrey — the big guns and big breakout from the 1985 film — onboard as producers must have eased and complicated the gig in unfathomable ways.
Oprah and Jones also had a hand in the original Broadway musical adaptation, which has spun off its own lore and legacy, and adds another meta layer of pop-lit gloss to what this film aims to freshly reinterpret.
The stage musical — with a book by Marsha Norman, and lyrics and music by Brenda Russell, Allee Willis, and Stephen Bray — has amassed its own roster of breakout stars, including American Idol winner Fantasia Barrino, who made her 2007 Broadway debut stepping into the lead role of Celie, and Orange Is the New Black‘s Danielle Brooks, Tony-nominated for playing Sofia opposite Cynthia Erivo in the 2015 Broadway revival.
Barrino and Brooks reprise their respective roles here with a lived-in grace and fortitude that does freshly illuminate Walker’s moving narrative, the lifeblood that courses through every iteration. That story, the epic tale of Celie, a Black woman in the early 1900s South beaten down by the evil around her, and saved by the sisterly bonds she forges with other persevering women, remains powerfully compelling.
Walker’s sprawling, proudly melodramatic series of farewells and reunions seemingly can withstand whatever bells and whistles its interpreters want to throw at it. In her favor, Fantasia’s got the smoky, Southern brass of her one-of-a-kind voice to balance the innate humility she brings to Celie. Brooks wields a knowing smile, eyes that spit fire, and a command of her body, voice, and aura that captures every dimension of a character who rocks between delightful comedy and heartbreaking tragedy.
As boozy blues singer Shug Avery, the third pillar in the movie’s main trio of strong, striving women, Taraji P. Henson supplies requisite star power paired with the unlikely warmth and sensitivity she shows Celie, as friend and lover.
In scenes pairing Barrino with Brooks, or Barrino and Henson, the performers complement each other beautifully, leading a starry cast that gels around Bazawule’s pointed portrayal of enterprising rural Black folks.
He and screenwriter Marcus Gardley switch up some of the emphasis by weighting more of the opening act towards establishing the bond between young Celie (Phylicia Pearl Mpasi) and her smart-as-a-whip sister Nettie (Halle Bailey) before the girls’ heartless Pa (an excellent Deon Cole) tears them apart. But, not only does Celie’s love for Nettie sustain her, she also has a tiny flame of worldly ambition burning inside.
The Color Purple: Colman Domingo — Photo: Eli Ade
This Celie appears always destined to be a businesswoman, if she can just endure her struggles. And even her no-good, abusing husband Mister, painted in fascinating shades of dark and light by Colman Domingo, reveals sweet dreams that lay broken beneath his cruelty and abuse.
Mister eventually attempts to atone for a lifetime of hurting people in a redemptive turn that feels not as convincing as his cruelty. A dramatic reconciliation for Shug and her disapproving preacher daddy Reverend Avery (David Alan Grier) similarly feels unearned, but just perfunctorily included to pluck the heartstrings of viewers with fond memories of “Maybe God Is Trying to Tell You Something,” a major musical highlight of the Spielberg film.
A rousing full-cast gospel number in that film, the song is deployed as a quietly tender duet here — an admirable revision that’s nowhere near as stirring. That assessment applies broadly to the musical numbers, though Henson really burns the house down grinding her way through slinky, sexy “Push the Button,” and Danielle Brooks simply can’t miss putting across Sofia’s defiant mission statement, “Hell No!”
The music sounds spirited throughout, supported by brilliant costumes, persuasive period design, and Fatima Robinson’s energetic choreography. The overall result is entertaining and emotionally satisfying, though perhaps too rosy in tone, too pretty and plucked to be as penetrating as Walker’s book, or the Spielberg movie, or even Signature Theatre’s superb 2022 stage production. But Celie’s indelible journey towards empowerment and success is still here, beautifully alive and singing.
The Color Purple (★★★☆☆) opens in theaters nationwide on Christmas Day. Visit www.fandango.com.
There isn't a great deal of originality in Jamie Wax's new play, Call Me Izzy, but it may well mark the first time a white porcelain toilet has been featured so prominently in a Broadway production.
The 90-minute, one-woman show opens in the bathroom of a mobile home, situated in a trailer park in rural Louisiana, where Isabelle "Izzy" Scutley (Jean Smart, Hacks) spends much of her time, scribbling on sheets of toilet paper with a mascara pen. Poetically, she describes the various shades of blue produced by the disinfectant tablets that she gingerly drops in the tank. To her, they are beautiful. To her husband, Ferd, not so much.
Based on its stunning trailer -- propelled by early-Hollywood actor Taylor Holmes' ripping 1915 recording of the Rudyard Kipling poem "Boots" -- one might expect 28 Years Later to focus on a father and son's war for survival against zombie-like hordes.
Directed by Danny Boyle and written by Alex Garland, creators of the 2002 series originator 28 Days Later, the film does venture with 12-year-old Spike (Alfie Williams) and his rugged dad, Jamie (Aaron Taylor-Johnson), into territory crawling with rage virus-infected human predators.
Yet, that's just a piece of a richer narrative anchored by the drama of domestic dysfunction within Spike's family, which also includes his homebound, mentally ill mom, Isla (Jodie Comer).
Life is a cabaret at the titular bolero bar in GALA Hispanic Theatre's Botiquín de Boleros de Columbia Heights. Of course, for this lively, immersive staging, directed and choreographed by Valeria Cossu, we, the audience, are the patrons at the Columbia Heights Bolero Bar.
Seated at cabaret tables onstage, at stage level, or in regular seats throughout the house, audience members may find themselves in the midst of the action for Rubén Léon's heartfelt backstage musical revue, adapted by GALA artistic director Gustavo Ott.
Formerly a mainstay of D.C.'s diverse Columbia Heights neighborhood, the fictional boîte was "one of the hottest cabarets" in town, we're told. But due to the pandemic, it has sat dormant for years, until now -- now being November 2024, just ahead of a presidential election that will prove particularly pivotal for immigrants like some of the performers who call the club home.
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