At Home Streaming until 7 March – book via https://www.curveonline.co.uk/
5*****
Reviewed by Claire Roderick
Curve’s 2019 production of The Color Purple was a huge success, and this concert version with most of the original cast is a triumph.
Staged in the round with Ben Cracknell’s inspired lighting and minimal props, the company shines under Tinuke Craig’s deft direction. The cast sit around the perimeter of the stage when not performing, and cameramen are visible as they set up the shots, reminding us of the skilled teams needed to put on a production – with the lovely touch of every person involved having their own moment on camera as the credits roll.
Marsha Norman’s book does justice to Alice Walker’s novel. Even with such short scenes between musical numbers, the characters and their stories are coherent and sympathetic – even the abusive men scarred by the legacy of slavery. Celie’s abuse at the hands of the man she thinks is her father, her life with her husband Mister – whose name she doesn’t learn for years – and the violence the women encounter are front and centre, with some dark moments, but Celie’s unwavering faith that she will be reunited with her children in heaven is the melody of hope and love throughout, and you may jump off your sofa and cheer at her growing self-belief and gradual empowerment after she meets and falls in love with the selfish but passionate Shug Avery.
T’Shan Williams is phenomenal as Celie – passionate in the big numbers, but even more impressive in her quieter moments, capturing Celie’s both childlike innocence and her steely strength with the subtlest facial expressions. Her version of I’m Here is astonishing and What About Love with Carly Mercedes Dyer as Shug is spine tingling. Dyer is captivating as Shug and Karen Mavundukure is a force of nature as Sofia. Ako Mitchell impresses as Mister, making his painful path to redemption believable.
Brenda Russell, Allee Willis and Stephen Bray’s music full of blues, jazz and spiritual influences, is a joy under Alex Parker’s direction, and the company’s vocals are sublime, with fantastic, energising choreography from Mark Smith. The gossiping church ladies will never fail to make me laugh, and the powerful rendition of Africa is magnificent.