Regina Maria Williams, Aimee K. Bryant, and Cast

The story traverses forty years in Celie's strife-ridden life, from 1909 to 1949. Set in rural Georgia, Celie, a 13-year-old African-American child being raised (if his abusive treatment can be called that) by her father, is pregnant for the second time. This baby, like her first, is snatched from her soon after its birth; she is not even told if they are alive or dead. The sole bright spot in her life is her sister Nettie, who aspires to be a teacher, and together they dream of a better life. Celie's father sells her to an equally mean and coarse man by the name of Mister. Mister heaps grueling work upon Celie, leaves his own two children in her care, subjects her to heartless sex and, most cruel of all, tears Nettie from her life.

Over time, Celie's life is profoundly changed by two women: Sofia, who Mister's son Harpo takes as his wife; and Shug Avery, a blues singer and Mister's past lover. Sofia will not tolerate abuse from her husband, or any man, showing Celie that it is possible for a woman to stand up for herself. When Mister orders Celie to nurse a sickly Shug back to health, Celie and Shug form a special bond. Celie is the first person to care for Shug with tenderness and without wanting anything back from her, and Shug draws out Celie's inner beauty. She shows Celie an alternative that frees her from bondage to Mister, and ultimately leads to forgiveness.

The Color Purple is well known as a novel by Alice Walker, as well as the 1985 film directed by Steven Spielberg. The musical based on both the book and movie opened on Broadway in 2005, ran for over two years, was nominated for a passel of Tony Awards, and spawned a national tour. Still, it has never been viewed as a first-order success. Critics called it bloated, claiming that the heart of the story was buried beneath the production values. The pared down presentation at Park Square does not suffer this problem, allowing the audience to absorb the heartbreak and joy of Celie's struggle for self-hood.

The show's book, by Pulitzer and Tony winning playwright Marsha Norman, is its weakest aspect. As is often true when panoramic novels are brought to stage or screen, we must infer from key touchstones what came in between. At times the leap may be a bit too great, leaving one to wonder if something was missed, such as Celie's emergence as a successful entrepreneur.

The musical pieces elaborate on these touchstones. This is not a score that leaves one whistling the tunes, but it does contain a wealth of beautiful and lively music that serves the narrative well. Some songs frame the mood. Others amplify the heart of their character's feelings. "Mister's Song - Celie's Curse" reveals Mister's moral awakening through a dramatic soliloquy, and Celie's final epiphany of realized self-worth is ecstatically expressed in "I'm Here."

Throughout the show, a trio of church ladies provide musical commentary on the state of affairs regarding the goings-on. They are welcome as comic relief, but also remind us of how community judgment can make it all the more difficult for those striving to break free from society's shackles.

The triumph of Park Square's production is first and foremost its casting. Some of the Twin Cities' premier actors have been assembled, giving evidence to our rich array of theater talent overall, and in particular, in the community of African America performers. Reverend Carl Walker, founder of the Walker West Music Academy, can be credited with drawing together a dream cast, not only in terms of each cast member's proficiency, but in matching each performer to the character they portray.

Aimee K. Bryant's portrayal of Celie is luminous. Beginning as a shy and self-denying girl, fearful of every corner she turns, Celie eventually discovers strength and beauty within herself, the courage to stand up for herself, and the grace to forgive. Bryant shades this transformation bit by bit; it does not occur in a rush during a climactic scene, but is shaped through each experience. When her final act of self-affirmation arrives, in the powerful "I'm Here," it comes not as a sudden jolt, but as the culmination of everything she has endured. Bryant brings this number off with passion and certainty.

Regina Marie Williams is radiant as Shug Avery, making her own transformation from a self-centered pleasure seeker to a woman capable of experiencing deep love. Her voice can be smooth as silk or possess a lion's roar. She sings "Too Beautiful for Words" as if offering a prayer, and her duet with Celie, "What About Love?," evokes their shared amazement in discovering the substance of their feelings.

Thomasina Petrus perfectly captures Sofia's strength and stamina, imbuing her character with an unswerving conviction of her own worth, while allowing the humor in her part to freely bubble up. In "Hell No!," her rebuff to any man's attempts to control her, we laugh at her swagger as we cheer her resolve. Sofia could come across as a bully, but Petrus' portrayal makes us root for her.

T. Mychael Rambo brings an unexpected depth to Mister. For most of the play, he is a self-centered bully, but when Celie's empowerment sets her free, Mister for the first time questions his own behavior, and searches for ways to be a different man. This aspect of the story might stretch credulity if not for Rambo's sensitive and honest portrayal, especially in the powerful "Mister's Song - Celie's Curse."

As Harpo, Darius Dotch brings a sincerity in his recognition that he is a different man than his father, yet he still struggles in the face of Sofia's strength. He bristles against being a pushover, but Dotch makes it clear that Harpo loves Sofia not in spite of, but because of, her inner fire.

Of course, a great cast does not alone make a great show. Director and choreographer Lewis E Whitlock III draws a focus to each character's feelings at any time, and establishes the relationships between them. Thus, we are able to believe in the dynamics between characters that allow relationships to change and individuals to grow.

The choreography in the first few dance numbers is somewhat restrained, closer to rhythmic walking, arm-waving and shaking than true dance. Perhaps by design, when Shug Avery arrives, so does all-out dance. Her juke joint number, "Push da Button," is a glorious celebration of sensuality. The dance continues to impress, with the balletic "African Homeland" sequence describing Nettie's sojourn as a missionary, and "Miss Celie's Pants," a tribute to Celie's arrival as a businesswoman standing on her own panted legs.

The six-piece orchestra plays gloriously. Denise Prosek was charged with drawing down orchestrations written for a much larger pit orchestra, and the result amazes.

Seitu Jones' settings are simple, using frame structures to evoke different dwellings, Harpo's juke joint or other settings. The lighting designed by Michael P. Kittel helps to define each scene's atmosphere. Trevor D. Bowen's costumes are just right in representing the changing styles over the 40-year span of the narrative, as well as the differences in social rank. Hairstyles, too, reflect those changing times. The only inconsistency is the actors wearing what appear to be current day footwear, a small detail, but one noticed both by myself and my companion.

The Color Purple at Park Square brings together the elements that make musical theater soar, tells a story that deeply matters, and puts on stage some of the finest talent performing in the Twin Cities, each at the top of their game. This is a rich evening of theater that feeds the mind, the heart, and the soul.

At Park Square Theatre on the Proscenium Stage through February 15, 2015. 20 West Seventh Place, Saint Paul, MN, 55102. Tickets: $48.00 —68.00; under 30 discounted seats, $29.00; seniors (62+) $5.00 discount. A $2.00 facility fee will be added to each ticket. For tickets call 651-291-7005 or visit parksquaretheatre.org.

Book: Marsha Norman; Music and Lyrics: Brenda Russell, Allee Willis and Stephen Bray; Director and Choreographer: Lewis E. Whitlock III; Music Direction: Gary D. Hines and Denise Prosek; Orchestrations: Denise Prosek; Assistant Music Director and Conductor: Andrew Bourgoin; Musical Casting: Rev. Carl Walker; Dance Captain: Daonna Lewis; Scenic Designer: Seitu Jones; Costume Designer: Trevor D. Bowen; Lighting Designer: Michael P. KIttel; Sound Designer: C. Andrew Mayer: Co-Sound Designer: Thomas Sandelands; Properties Designer: Abbee Warmboe; Wig Designer: Andrea Moriarity-Dahlberg; Stage Manager: Charles Fraser; Assistant Stage Manager: Megan Fae Dougherty

Cast: Aimee K. Bryant (Celie); Jamecia Bennett (church soloist), Samia Butler (church lady/Darlene), Ginger Commodore (church lady/Jarene), Darius Dotch (Harpo), Rodney Patrick Fair (Pa/piano player), Shirley Marie Graham (church lady, Doris), Reginald D. Haney (Buster), Jamaica Meyer (Nettie), Kasono Mwanza (Bobby), Thomasina Petrus (Sophia), T. Mychael Rambo (Mister), Dennis Spears (Preacher, Ol' Mister/Chief), Regina Marie Williams (Shug Avery), Joetta Wright (Squeak).

Ensemble: Rylee F. Armstrong, Jamecia Bennett, Ryan Colbert, Rodney Patrick Fair, Reginald D. Haney, Daonna Lewis, Andre Miles, Kasono Mwanza

Photo: Petronella J. Ytsma

- Arthur Dorman

Also see the season schedule for the Minneapolis - St. Paul region