Legitimate Theater: The Color Purple (2005)

Welcome to Legitimate Theater: a column dedicated to movie-based stage musicals. The goal of this series is to explore those stories that originated in films and eventually worked their way onto Broadway and beyond. By the end of each entry, there will hopefully be a better understanding of this odd but rampant trend in modern entertainment. Are these stories really worth telling through song and dance? How can it even compare to the technical prowess of a camera and seamless editing? Join me on this quest as I explore the highs and lows of this trend on the third Wednesday of every month and hopefully answer what makes this Legitimate Theater.

Opening

When looking at the history of The Academy Awards, there is one film with a very odd reputation. The Color Purple was a significant movie for Steven Spielberg, but it was known as well for what it didn't do. With 10 nominations, it failed to win any of them. It became one of the biggest losers in Oscar history and set a new precedent for what a loser is referenced as. Now if a film, like American Hustle or The Irishman, doesn't win any of its 10 nominations, it's pulling a Color Purple. By some luck, it's fared better on Broadway, going so far as to at least win a few awards in its initial run and even more the second time around. Considering that Cynthia Erivo was in the revival and The Irishman recently lost 10 nominations, it felt like a good time to give the Broadway show a chance to shine, proving that what doesn't work in one medium can have more success in another. But, is it worth all of the effort? 

A Quick Background

Tony Nominations: 1 win (Best Actress in a Musical) and 10 nominations

Based on: The Color Purple (1985)

Music: Brenda Russell, Allee Willis, Stephen Bray

Lyrics: Brenda Russell, Allee Willis, Stephen Bray

Book: Marsha Norman

Prominent Actors: LaChanze, Elisabeth Withers, Kingsley Leggs, Brandon Victor Dixon, Renee Elise Goldsberry

Soundtrack

1. "Overture"
2. "Huckleberry Pie/Mysterious Ways"
3. "Somebody Gonna Love You"
4. "Our Prayer"
5. "That Fine Mister"
6. "Big Dog"
7. "Lily of the Field"
8. "Dear God - Sofia"
9. "A Tree Named Sofia"
10. "Hell No!"
11. "Brown Betty"
12. "Shug Avery Comin' To Town"
13. "All We've Got to Say"
14. "Dear God - Shug"
15. "Too Beautiful For Words"
16. "Push Da Button"
17. "Uh Oh!"
18. "What About Love?"
19. "Act I Finale"
20. "African Homeland"
21. "The Color Purple"
22. "Church Ladies' Easter"
23. "I Curse You, Mister"
24. "Celie's Curse"
25. "Miss Celie's Pants"
26. "Any Little Thing"
27. "I'm Here"
28. "What About Love? (Reprise)"
29. "The Color Purple (Reprise)"

Note: Listen to the music here

Song Exploration

Opening Song:
"Huckleberry Pie/Mysterious Ways"

The show starts with the perfect balance of the two worlds that will be explored throughout the show. It begins with a simple enough ditty of two kids singing a song as they stroll around town, enjoying the simple pleasures of life. Then things slowly begin to get complicated, introducing the audience into the Southern style of a church full of jubilant cheers. The cast is slowly introduced and soon the whole world is brought to life full of people who find a reason to celebrate being alive. It's a number meant to reflect the spirituality within the characters and how the protagonist may stray a little from the conventions of others. Still, it's an entertaining, barnstormer of an opening that sets the show off on the right note.

Carryovers

There isn't much to really argue for direct comparisons to the film version. At most, there is some tonal similarities to the later church scenes. It's where everything becomes a jubilant celebration as new places open that provide solace for people wanting to escape the humdrum of life. Beyond that, it's mostly in the dialogue and rhythmic style of the songs playing with the folk music stylings of its characters. 

High Point:

"Hell No!"

As far as early stand-outs are concerned, there are few that hit (no pun intended) as hard as this. It's a song that suggests that women deserve to believe in themselves and not let a man mistreat them. It's in the way that the chorus emphasizes the title phrase that the audience is drawn into the strength of its characters, all working on becoming stronger and more independent of the men in their lives. It's a catchy enough tune as well, presenting a bluesy ferocity that makes one worry about crossing her with even an accidental hand of abuse. By the end, you root for her to stand her ground, and there's a good chance that it will empower the listener as well to not let others mistreat them. 

Low Point:

"All We've Got to Say"

This was a difficult thing to pick because the show isn't lacking any bad song necessarily. The only issue is that some moments out of context just sound like catchy, brief ditties that don't add up to much. This is the primary example, where a quick piece of gossip is in and out within a minute and presents a world where everyone's enjoying their little nitpicking. There isn't much else to say about it and, as far as these short songs go, is arguably the least memorably constructed. It is just another interlude to a greater song and one that immediately overshadows it in every significant way.

What Does It Bring to the Story?

While one can't fault the film version for being of its time, the thing that feels most apparent about this version is how confident it is of its own identity. If you listen, there is more confidence in letting the African American experience dominate the personality, where the singers embrace the southern styles of music and hail their voices to the heavens in such powerful ways. If anything, it feels for the first time that an adaptation is actually trying to capture something raw and personal to their experience, and in the process making a show that is distinctly made for them. It's got so much power and presents the characters as being stronger than they had been in the film version, which can only help matters.

Was This Necessary?

Yes

There are a lot of moments within the show that feel important to the world of theater. It isn't just another caricature of southern lifestyles. It's one that chooses to look at the personal lives of these characters and understands them on a rhythmic level that is full of dizzying melodies and moments that pop. The listener can't help but feel more entranced with the characters' plights and the fun moments are a whole lot more interesting this time around. Every aspect of this show feels more confident and alive than the film, and by the end, it's a journey that feels downright spiritual. It's alive in ways that the best of theater is supposed to be, and there's a reason that it was revived around a decade later. It's just a very good show with a very good songbook.