I devoured every possible detail I could of the Goodman Theatre’s July 10 production of The Color Purple—down to the tendrils of Spanish moss draped from the set’s impossibly high wooden rafters.
The musical represents true love–queer and otherwise–and violence through many iterations of gender, sexuality and power dynamics. It opened in June at the Goodman Theatre, and has since been extended through August 3 due to popular demand. Its first national tour began in Chicago in 2007, where it also enjoyed an extended run.
The musical follows the life and complicated journey of Celie (Brittney Mack), a Black woman in the American South through the early- and mid-1900s. Celie’s father (Michael Earvin Martin) marries her off to a violent, power-hungry man called Mister (Evan Tyrone Martin), ultimately separating her from her sister (Shantel Renee Cribbs) and trapping her in a decades-long abusive relationship.
Mister’s estranged mistress and lusted-after performer, Shug Avery (Aerie Williams), comes to town one day when she is invited to perform at Harpo’s (Gilbert Domally) Juke Joint. She crashes with him and Celie, much to both of their delights. A deep love begins to form between Shug and Celie—that love solidifies a path towards complete transformation and freedom in Celie.
The musical is led by director Lili-Anne Brown, choreographer Breon Arzell and music director Jermaine Hill. This is their third collaboration on the show, and they demonstrate respect for both the show’s book and the the actors performing it.
The details in this production alone were beautiful. The costumes through the decades of Celie’s life seamlessly transitioned from humble, dark and gray to vibrant and confident. The orchestra completely filled the space with heart-wrenching emotion through music. The actors were perfectly cast, rife with pockets of incredible chemistry between many of the characters. Some sets, like Harpo’s juke joint, reminded me of late nights in back rooms, sitting next to a lover, losing my mind and offering every dollar I have to my favorite queer burlesque performers.
Many iterations of this production in the past 20 years have downplayed Celie and Shug’s romance, even though the book’s author, Alice Walker, consistently stood by their sapphic dynamic.
While I didn’t find Shug and Celie’s characters to be romantically passionate or sexually tense, I would say that Celie’s queer discovery through Shug absolutely brings her closer to freedom. Still, the characters’ sexual attraction deserves to be fleshed out as much as other sexual dynamics in the production.
Their relationship marks the only times Celie finds enjoyment from romantic intimacy. She also stands up for herself–the start of the strength and power she unlocks and builds on–to Shug in a moment of clarity. Their love and tenderness unlocked Celie’s ability to love herself enough to choose herself.
I find this dynamic in and of itself to be a queer narrative. Queerness is a rejection of oppressive power structures, of discovering our true nature and seeing it through, to each evolution of ourselves as we engage in freedom.
This production allows their love to be the backbone of the show, without which Celie could not have known freedom. Shug allows Celie to be truly seen as she is–a gift that queer people can continually give to one another, saving each other in the process.
The Color Purple runs through Aug. 3 at Goodman Theatre, 170 N. Dearborn St. Tockets begin at $48. For more information, see GoodmanTheatre.org or call 312-443-3800.