…that sometimes the reviews are right? In this case, the reviews for the latest Pasadena Playhouse production, Purlie.
We went to the Pasadena Playhouse last night to see Purlie. For those unfamiar with the play, it is the musicalization of the play Purlie Victorious by Ossie Davis (made into the movie Gone are the Days). It is a satirical story, set in the antebellum South. It tells the story of a town where white racist plantation owner Ol’ Cap’n Cotchipee effectively owns everyone and everything in sight. Along comes the title character, a slick-talking, self-proclaimed preacher with a cockeyed scheme to get the deed to a barn that he’ll turn into a church and empower the townspeople in the process. You know (by the opening) that he suceeds, but it is the “how” that is the interesting part. This is a high energy musical, with loads of wonderful high-energy singing.
The original version of Purlie came out in the 1970s, and start such up and coming artists as Cleavon Little as Purlie, Melba Moore as Lutibelle (coming off of a spectatular performance in Hair), Sherman Hemsley as Gitlow, Novella Nelson as Aunt Missy, and John Heffernan as Ol’ Cap’n.
This production had an equally strong cast. In the title role, Purlie, was Jacques C. Smith, who you may know as a semi-regular (Leroy Tidd) in Oz. Strong actor; strong singer. Starring as Lutiebelle was Paulette Ivory, who was the title performer in Aida on Broadway. Aunt Missy was played by Loretta Devine, who starred on Broadway as Lorell in Dreamgirls. Ol’ Cap’n was played by Lyle Kanouse, E. Faye Butler as Idella, Billy Gill as Charlie, and Harrison White as Gitlow. According to Broadway.Com, this production (directed by Sheldon Epps of the Playhouse) is Broadway Bound.
Purlie combines gospel, rhythm and blues and the best of Broadway with music by Gary Geld, lyrics by Peter Udell, choreography by Ken Roberson and written by Davis, Udell, Philip Rose (who subsequently collaborated, without Davis, on the musical Shenandoah).
Reviews of this production have been very strong. The Los Angeles Times, although not having a clippable quote, strongly supports the program. Talking Broadway complains about the vocal strength of some of the cast, but I think this was resolved by last night. Curtain Up notes that the phenomenal ensemble brings the stage to life. Backstage notes that the ebullient performances comprise the production’s strongest asset. It was a very strong strong show, and I strongly recommend this production.
Make way for a new-fangled preacher man!
Ain’t gonna promise no cherry and rye
No glorious life on that great other side
I got a different message to spread
How bout some glory days before we are dead?
[Crossposted to socal_theatre]
