On a visit to New York in November 2005 I was able to catch an early preview performance of a new musical, The Color Purple, based on Alice Walker's novel. In 2006 I saw it again during its New York run and my third viewing came when I saw the national tour kick off in Chicago at the Cadillac Palace Theater last year. In New York, I saw original stars LaChanze, Felicia P. Fields, and Elisabeth Withers-Mendes create their trio of leading roles—only Ms. Fields recreated her role (of Sofia, for which she earned a Tony Award nomination) for the national tour. The Broadway production was able to continue a healthy run, reaching a total of 910 performances, thanks to the casting of American Idol winner Fantasia in the role of Celie. It received 11 Tony Award nominations, winning only one, a Best Actress in a Musical award for LaChanze. For Best Musical, it was nominated with The Wedding Singer, The Drowsy Chaperone and Jersey Boys, which took home the big prize.

The Color Purple tells the story of Celie, a poor black girl who is brutalized and treated with disgust, first by her father, then later by her husband Mister. She loses her only source of happiness—her sister Nettie—through the anger of Mister. Celie's life of pain, loss, loneliness and, in the end, true glory and rich love unfolds on the stage.

Leading the orchestra for this national tour is Dallas native Sheila Walker, who musical directed several productions at Watertower, Lyric Stage and other metroplex theater companies. I had the joy of watching Ms. Walker lead the orchestra when the tour began in Chicago. Anyone who belongs to the DFW theater family will grin from ear to ear to know one of our very own is leading the orchestra of this national tour. She yet again does a superb job, balancing the lush strings and brass to sublime musical confection.

There are some dramatic physical changes from the Broadway version for the current tour. Gone is the massive, towering tree in which Nettie and Celie played hand games as little girls. The tree had its center cut out for the girls to play inside. For the tour it is now a tiny contraption of wood and a backdrop. I miss the tree. Also in the original, there was an actual General Store, Sophia's porch and Celie's pants store. Now it has all been scaled down to simple backdrops and small gliding units with props to signify the various locations. The Broadway version had Shug's car (given to her by her husband as a wedding present) driven on stage. For the tour it is represented off stage by the honk of a horn.

Costumes have also changed somewhat. For example, Shug's gold gown for "Push Da Button" was heavily beaded in golds and reds in the Broadway production. The tour gown only has red beads at the bottom. Also, several hats and the costumes for the women are not in the same shapes, hues and patterns as they were in New York.

As she did in the tour debut, Jeanette Bayardelle carries the show marvelously as Celie. In the year since I first saw her, she has really fleshed out the role and brought more organic truthfulness to her characterization. She has a more grounded, realistic approach than before. She has also added a layer of fresh humor that works wonderfully. Vocally, she is a songbird who steals the audience's heart. She takes command and strength from her big 11:00 o'clock number, "I'm Here," with such gusto and voice, that it will leave you breathless. Ms. Bayardelle is yet again phenomenal.

Stealing the show for the fourth time is Felicia P. Fields as Sofia. You would think having done the out of town tryout, the Broadway production for almost two years, and then a tour she would be simply be going through the motions. Not at all! Ms. Fields devours her role as if it were the first time she stepped into Sofia's shoes. She has found hilarious new comic moments and even more painful darker moments in the second act. Her big number, "Hell No," is still one of the major showstoppers of the evening, earning Ms. Fields the loudest laughs. You will love her as countless audiences already have.

As Shug, Angela Robinson completes the trio of leading ladies. With sex appeal and sensuality, Ms. Robinson slithers on stage like a Persian cat looking for a mink scratching post. She too finds new comedic overtones that I've never seen before in the character. And she sings in a gorgeous soprano voice that generates thunderous applause for her various numbers.

Lynette Dupree, Kimberly Ann Harris, and Virginia Ann Woodruff are still hysterical and delightful as the trio of church ladies who serve as a Greek chorus. These three actresses originated the roles in New York, then went out with the tour—and they still provide a trio of scene stealing performances. From their facial expressions to their acting, they are hilarious and highly entertaining.

Sublime work is also provided by American Idol star Latoya London as Nettie, Stu James as Harpo, and Rufus Bonds, Jr. as Mister.

Even after four viewings I still cannot get enough of this musical's gorgeous and exquisite score. It is gospel, pop and even African music that have been interwoven to give the score authenticity.

The Color Purple will fill your heart with song and love. It's so nice to observe a musical that uses its emotions and music to fill your heart. No need for special effects or gadgets—just a great cast and a beautiful score, which The Color Purple has—those things alone will dazzle your eyes and touch your heart.

The Color Purple National Tour, Dallas Summer Musicals through October 19, 2008. Purchase individual tickets at The Box Office, 542 Preston Royal Shopping Center (no service charge), any Ticketmaster outlet including Macy's, Fiesta or The Majestic Theatre, online at ticketmaster.com Or Charge-By-Phone 214.631.ARTS. Service charges Apply.) Groups of 10 or more call 214.426.GROUP

The Color Purple National Tour
Dallas Summer Musicals
Music: Brenda Russell, Allee Willis, Stephen Bray
Book: Marsha Norman
Lyrics: Brenda Russell, Allee Willis, Stephen Bray

--John Garcia