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Laundry. A private act that must be done. And a symbol we see repeated throughout “The Color Purple.” From the moment you walk into the Albert Theatre at the Goodman, you’re confronted with digitized linens strung across the stage. Those projections, designed by Michael Salvatore Commendatore and Rasean Davonté Johnson, portend what awaits you. Based on the beloved novel by Alice Walker, the Goodman Theatre’s “The Color Purple” is a freshly laundered production.
This musical retells the story of a Black woman named Celie (Brittney Mack) over the course of forty years of her life, from her time playing with her sister, Nettie (Shantel Renee Cribbs), in 1910, well into her adulthood. It is a life story rife with trauma and pain, but more than that, it is about identity, reclaiming one’s sense of self, and, ultimately, it’s about freedom. There is a lot for Celie to contend with. She was pregnant twice at a young age, married off to a cruel man named Mister, who sends her sister away, and cast aside to manage Mister’s home while he chases his lover and renowned jazz singer Shug Avery.
For Lili-Anne Brown, Breon Arzell and Jermaine Hill, this production of “The Color Purple” marks their third time working on the show together as a team. As the director, choreographer and music director, respectively, this trio has perfected this show without leaning away from or sanitizing the most painful parts of Celie’s story. While I wasn’t lucky enough to see either their Drury Lane or Muny productions, I imagine the third time’s the charm with this one. Every second of this nearly three-hour show is wholeheartedly earned. There is not a moment that goes by in which you could ask for more.
Well, except at the end, when you wish you could experience it all again.
Just as I was the first time I saw Mack perform as Anne of Cleves in the pre-Broadway run of “Six” at Chicago Shakespeare Theater in 2019, she had me mesmerized. Although the roles of Anne and Celie appear as different as night and day, Mack’s gravitas between them remains the same. Even in her meekest moments as Celie, her magnetism on stage is inescapable.
And the audience made the arc of the show even more palpable. An audience hasn’t felt that electric since I saw “Kinky Boots” at Paramount in 2021 after eighteen months of no theater. But who could blame them? This cast is stacked with talent. From the sensational Sean Blake as Ol Mister, and Aerie Williams’ divine Shug, to the Greek chorus of church ladies Doris, Darlene and Jarene (Lachrisa Grandberry, Sharriese Hamilton and Reneisha Jenkins), every single performance is on point. Particularly well cast is Nicole Michelle Haskins as the no-nonsense Sofia. She’ll knock your socks off.
Every once in a while, there is a show that blows all of your expectations out of the water, one that sets a new standard for a story. Not only does Goodman’s “Color Purple” do both of those things, but it is easily a production that I will never forget.
Goodman’s “The Color Purple” runs through August 3 at Albert Theatre, 170 North Dearborn. Tickets are $33-$143, available at GoodmanTheatre.org or by phone at (312)443-3800.
