I should start talking about my experience on Saturday by admitting something: I haven’t read Alice Walker’s 1982 novel The Color Purple, or seen the Spielberg film adaptation from 1985; and so I went in completely fresh to view this new staging of Leicester Curve’s 2019 production. I’m counting myself incredibly lucky that this show has been my introduction to this story and the score: it’s raw, tender and immensely moving.

The Color Purple is the story of Celie, a young African American woman forced into marriage and separated from her beloved sister Nettie. As Celie navigates being a black woman in a racially divided world, a woman in a man’s world and finds feelings flourishing within her that aren’t even presented as an option, she finds strength and kinship in the fiery Sofia and jazz and blues singer Shug Avery, and learns that self acceptance and courage may just be the best gift she can give herself. It’s a beautiful and potent message and one that leads to a striking balancing act given that the source deals with some dark and difficult themes including physical and sexual abuse, but what struck me most throughout was the way the piece as a whole doesn’t shy away from exploring and acknowledging their impact. Moreover, the piece might resonate differently now, given how the world reacts and responds to racism, but that also reminds us how important these stories are.

The staging brought that home even more strongly: this version is staged in the round, with a revolve and company always there on the periphery even when they aren’t onstage, and minimal props: stripped back to its bare bones, the characters and story are always the driving force. Though we know we are watching a piece staged in an empty auditorium, there’s something about that intimacy and immediacy of seeing all the elements of stagecraft that go in to being able to present a piece that heightens the emotional investment. The company came together and made this version in 10 days, elements changed to allow for social distancing and so forth, and the result is truly remarkable: Alex Lowde’s costumes anchor us firmly in the period, as does a beautifully atmospheric soundscape by Tom Marshall, where crickets sing and children laugh. It’s Ben Cracknell’s sumptuous lighting that was my jewel in the creative crown: the rig bathing the intimate space in light and richness.

Mark Smith’s choreography, adapted for this new production is striking; full of joy and exuberance when the occasion calls; I delighted in the thought of the audience sharing and feeding off that energy had they been allowed to be present… especially during a rather racy number between Harpo and Sofia, or at the Juke joint.

The score – a combined effort from Brenda Russell, Allee Willis & Stephen Bray is a blend of gospel, folk, blues and jazz. I think it’ll be a score I will endeavour to listen to again and more because I enjoyed it more for the music rather than the lyrics. There were a few numbers that got under my skin – What About Love? would be my personal favourite, closely followed by I’m Here, but I found myself more interested in the story rather than the songs. That being said, the quality of the cast is astonishing and keep things moving nicely, guided by Tinuke Craig’s assured vision that allows the cast to find the heart of the story once more despite it being stripped back. There were sparse moments I felt dragged a touch, but for the most part I was wholly invested and enjoying the journey.

I had the joy of seeing T’shan Williams first in The Life at Southwark Playhouse, and remember thinking she’d be one I’d love to see more of, I’m thrilled that this show has given me that chance. Her take on Celie exudes tenderness and subtlety, and is an absolute joy to watch grow and develop as Celie discovers herself, my smile just grew wider and wider. Carly Mercedes Dyer is irresistible as Shug, whom everyone loves, and Karen Mavendukure cuts a formidable, sassy Sofia. Danielle Fiamanya is absolutely radiant as Nettie, making the most of her little stage time, and as a young woman watching a piece that celebrates family, sisterhood and womanhood was really touching and empowering.

Though the women are the beating heart of this story, I’d be remiss not to mention the men and I have to start with Ako Mitchell as Mister. Like T’shan, Ako came into my theatrical life a ways back: he was playing Coalhouse Walker in Ragtime at Charing Cross. I took pure and simple delight in watching Ako play a character so different to the one I’d seen before… Mister goes to some hugely dark places and is a nasty piece of work, and the way he is so easily and subtely able to elevate this as Mister’s arc slowly changes is breathtaking! Simon – Anthony Rhoden too, gives Harper a rather endearing bravado, and its wonderful to see such a uniformly strong cast give vitality to even the smallest of roles, from the guys at the Juke joint to the trio of church gossips.

Given that The Color Purple debuted on Broadway in 2005, as is my seemingly perpetual habit, I’m ever “late to the party”, and as ever, grateful to Curve for introducing us. Catch this one while you can – it ends on March 16th!

For details and tickets, head to https://www.curveonline.co.uk/whats-on/shows/the-color-purple-at-home/