Following the powerful and poignant Indecent, Nashville Rep has turned to another gripping story in its production of The Color Purple. Exploring intimate and often heartrending themes including abuse, religion, racism, sexism, suffering, perseverance, and empowerment, the story deftly weaves between horrors and hopefulness, devastation and determination. Following the plight of Celie, a teenage girl living in the South and being abused by her father, the story boldly and unreservedly confronts injustices and disparities that were all too ubiquitous in the Black experience of the time and place, specifically for women. As the times change and the narrative progresses, seeds of hope begin to emerge as genuine and benevolent relationships demand resilience and forgiveness, repentance and transformation. The passage of time alone, though, could not account for the metanoia of the show’s characters, and the depth of the cast is what truly makes the word become flesh, to borrow a phrase from Christian scriptures. It is in this element that the passion and power of this production is found.
The cast is resplendent. As is fitting for the story and its themes, this is especially true of the women. In the lead role of Celie, Carli Hardon is called on to display vulnerability, dejection, defiance, resolve, and hope. Through the challenges Celie faces, Hardon carries the character with an unwavering grace and dignity, and the relationship she forms with the audience is spellbinding when her eyes look beyond the stage. Tamica Nicole (as Shug Avery) nearly steals the show, channeling Shug’s bravado and wowing with her vocals, while Shinnerrie Jackson (as Sofia) unambiguously shows sass and strength in a crucial role exploring both the triumphs and pitfalls of female assertiveness in the show’s historical context. Raven Buntyn leaves the audience wishing for more as she plays Squeak with equal parts skill and spunk, while the Church Ladies (played by Lindsey Kaye Pace, Yolanda Treece, and Meggan Utech) convey an almost folksy sagacity befitting both busybodies and classical muses. As Celie’s sister Nettie, Maya Antoinette Riley brings to life the role’s intelligence and idealism as she serves as a light for her imperiled sister. Not to be overlooked, the ensemble, especially in the choreography, plays its part with precision. Finally, the men deliver in their own unique ways. Elliott Winston Robinson takes the journey of Mister, guiding the character through internal conflict and gently conveying his vocal prowess when he’s the focal point. As Harpo, Gerald Oliver is pitch perfect for the character’s movement from awkwardness and confusion that eventually burgeons into confidence and success.
I knew going into this one that it would be a heavy and human experience. For all the violence and darkness, the cast manages to capture the humor and lightheartedness that are often necessary to survive longitudinal and systemic realities of crisis in individuals and communities. As an audience, we are fortunate to be presented the opportunity to immerse ourselves in this impassioned paragon.
A touring production of The Color Purple was scheduled to open at TPAC on Friday, March 27, 2020, but it became the first of many cancellations that would last for nearly a year and a half. For all that was lost during a global pandemic, for all the anxiety and ugliness and confusion, the trove of talent that lies in and around Nashville came through to deliver an empowered and emotional spectacle.
For those of us in Nashville who had hoped to see a production of The Color Purple in 2020, the journey to that reality was one we never could have expected. We learned much about the world around us and about ourselves over the past four years, and the richest moments were found among those we love. I think it’s safe to say that we value theater and the arts more than ever, and this production serves as a hub where the compelling stories of the past and the talent that has become manifest in the present form a seismic synergy that could not be fully experienced anywhere but on the stage. Now the opportunity is present to witness neighbors and friends taking up the mantle of a story that deserves to be told and is worthy to be heard. Alumni of local universities, Nashville natives and transplants, mothers, and dreamers are included in this cast. Like the instances when we see the color purple, this production should be noticed and celebrated for its grand themes and for its small subtleties. It is painful and poetic, tragic and joyous. It is a story of the collective good that can be drawn out of humanity when individuals draw out strength, poise, and goodness from one another. Simultaneously, it is a journey to autonomy and agency that resonates with those who deserve to take back what is rightfully theirs from those who have sought to sully or steal it. It is redemptive, empowering, and cathartic.
It is beautiful. And it is here.
Nashville Rep will be performing The Color Purple in TPAC’s Polk Theater until April 14. Click here for tickets and more information.
Next up for The Rep: POTUS (May 10-19). Tickets and more info here.
For Nashville Rep season tickets and to see The Rep’s upcoming 24-25 season (including Waitress September 13-22), click here.
See TPAC’s calendar of events here.
The Frenetic Peripatetic 