By Austin Archer
NOTE: This doesn’t often happen that one of our reviewers gets to see a show before its opening. We do have a reviewer (Michael Nielsen) scheduled to do a review this weekend. However, reviewer Austin Archer was so impressed with The Color Purple‘s chops one full week before it opened, we want to give you a little something now and you can read Michael’s review this weekend.
First things first: THIS IS NOT A REVIEW. Ok, it sort of is. But not really because I’ll be talking about a show I saw a full week before its opening, so let’s call it a pre-review. So, let me tell you what show I’m not reviewing. Last week I was treated to a special run through of Wasatch Theatre Company’s production of The Color Purple, which opens this weekend. If you’re in the theatre world you know how many glitches can happen during the rehearsal/full run/tech-hell week phase, so I’ll completely omit any and all hiccups.
Now for the good stuff:
First (and most importantly), do I think you should buy a ticket to see this show? Abso-flippin-lutely! I saw the show with no lighting design to aid in communicating the passage of time, no costumes to help immerse me in the time period, an un-finished set, and some sound issues. Even with all those cards seemingly stacked against it, I was laughing, cheering, and sob-crying (like audibly, and more than once–I was embarrassed.) I won’t bore you with a re-cap of the plot, I’ll let you see for yourself what it’s all about when you get to the Rose Wagner Studio Theatre in downtown SLC. Suffice it to say, I had never read the book or seen the movie, and I followed the plot from start to finish without a problem, so you should be fine.
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The young, up and coming director Cooper Howell has a real knack for instilling a lot of heart and passion into the ensembles he puts together. I got to watch him work with them as a director, as this was still a rehearsal, and I found his approach fresh, energetic, and very collaborative. I’m sure this makes the actors feel like they are the sculptors, too, not simply the materials being sculpted. It gives everyone a stake in the project, and raises the game of all involved. Stewart Fullerton’s choreography is amazing! It’s sharp, clean, culturally on point, and well-researched movement. Music Director Jaron Barney had his cast belting to the rafters, and singing tight church choir harmonies with all the right dynamics. I can not overstate how impressive the vocals are in this show.
I’d go into more detail here, but as I stated earlier, this is not a review, and if you want that information you’ll just have to check out Michael Nielsen’s actual review of the show coming soon. In the mean time, you have two and a half weeks to get yourself to the Studio Theatre at the Rose Wagner Performing Arts Center to catch this stellar show that runs September 11-27!
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