KCRep’s The Color Purple is an excellent production, but spiritually ambiguous
Photo by Don Ipock
There are stories that consumers seemingly come back to time and time again—with an inclination to reimagine it. Whether it’s in a book, produced by a studio, or a theater that is fond of a tale, or perhaps isn’t able to find new performances to put on, they always rely on tried and true retellings of classic narratives that never get old and always scratch an audience’s itch for entertainment and connection.
Photo by Don Ipock
Marsha Norman’s musical The Color Purple is one of those iterations based on Alice Walker’s epistolary novel of the same name and it will be at the KC Repertory Theater (KCRep) till Sept. 21. The showing of this story is promoted as an opportunity for its audience to “indulge in a world of soul-stirring music and unyielding hope” and to experience a show rooted in a “celebration of the human spirit that will move your heart and lift your soul.” Those sentiments rang true at its opening show on Sept. 5, but not in the way you’d expect.
The musical was a labor of love featuring a local cast that included Damron Armstrong, Jenise Cook, Allison Jones, Amari Lewis, Bree Patterson, Marc Wayne, among others. This production and all-star medley of performers also brought back KC native and Broadway star, Angela Wildflower, who has had appearances on Broadway in “Motown The Musical” (as Mary Wells), and hit TV shows such as “Atlanta” and “The Marvelous Mrs. Maisel.”
Following Young Celie’s (Angela Wildflower) estrangement from her sister Nettie (Bri Woods), which meant losing “the only person who has ever loved her,” she is left to fend for herself against the voices and pressures of a reality hell-bent on subduing her being.
The harrowing tale, directed by Daniel J. Bryant, kickstarts and thrives on the trauma shared by the sisters (who can both acknowledge their troubles but only one can seem to let the tools of freedom work for herself as her sister lives a life of abuse and labor.) This polished production pacifies and lulls the audience into believing that their sisterhood bond is what sustains Celie and provides her with strength—along with her convoluted relationship with God. For me, this facet falls flat creating a faulty foundation for the tale, but is saved by the actors’ willingness to give their all into their role, and the historic, long-standing IP of The Color Purple where whatever was provided would’ve had attendees up on their feet praising as if they were in church—which was the case.
The portrayal of the characters was incredible, creating an experience that was seismic and unforgettable. Viewers laughed, whooped, and hollered when actors participated in ancestral dance, choreographed by Heather Beal, and recited famous lines from the script. But also expressed collective derision during parts of the show where Mister, Celie’s husband through forced marriage, abused his wife, or sought redemption and forgiveness.
This show’s actor-led electricity was accompanied by a rich score with music from the diaspora and clever lighting and set design—hidden mirrors, fervent and timely lights, and an intricate backdrop—that allowed for seamless transitions along the plot where viewers are left with no question on setting when inevitably transported to the early 20th century. This setting where these easily identifiable characters are immortalized also, inherently, crafts a slice-of-time where the aims of the show are frozen in place without nuance.
Despite the knockout performance, there was a muddled understanding of the show’s purpose. KC Rep’s rendition of this narrative is characterized as “extraordinary” and heartening—promoting oversimplified and glib themes of the power of love, strength, and triumph over insurmountable odds. Celie’s “breathtaking tale of courage and transformation” to self-actualization is more complex than the theater alludes to, which is where drawbacks materialize.
Photo by Don Ipock
The story is meant to capture a nuanced depiction of Black life in America, particularly of Black women amid Jim Crow, and expose its ugly truths—originally designed absent the white gaze—that are too often written off as a product of “life.” But it seems that this staging by KCRep is one that could be considered a concession to white, mainstream perspective, with the only aim of making certain spectators “feel good,” and “hopeful” for the world we live in. This is a gift not afforded to every participant, especially Black viewers and people not old enough to completely understand or acknowledge the importance of this historical portrait.
This phenomenon is not new, and the theater shouldn’t take sole responsibility for the secular ritual that is non-Black people enjoying “soul-stirring” stories of a lived reality for Black audiences, but it is one that the house should mull over. It is a double-edged sword and a confusing, complicated decision to stage a production of this kind. The future of theater should set its sights on reimagining these timeless dramas and adjusting them to the ever-changing world instead of perpetual, fruitless regurgitation.
But again, beyond my qualms, it was a show that moved something in my soul and was brimming with an immense amount of talent on stage.
