ACTORS CO-OP BRINGS ‘VIOLET’ INTO THE LIGHT
REVIEW: VIOLET
BY RYAN M. LUÉVANO
Unless you’re a musical theatre aficionado or follow the work of composer the brilliant composer Jeanine Tesori, you may have never heard of the 2014 musical Violet. But just because show’s name isn’t familiar, doesn’t mean that Violet should be overlooked. Violet may not have the sparkle of a commercial musical that can sustain on the Great White Way, but its story, means of storytelling and country, blues, gospel, honky-tonk score make for a captivating night at the theatre.
L to R: Jahmaul Bakare, Claire Adams, Morgan West. PHOTO CREDIT: MATTHEW GILMORE.
The musical tells the story of a young woman with a scar on her face who endeavors to travel by bus to Tulsa, Oklahoma in order to be healed by a TV evangelist. What’s more the production by the Actors Co-Op Theatre Company, under the direction of Richard Israel, draws out all the richness of this musical gem for a L.A. revival that is stirring from beginning to end.
Actors Co-op Theatre Company’s space at the Crossley Theater is a perfect fit for this chamber musical. The three-quarter thrust stage, along with Israel’s immersive staging puts the audience in the center of the action—intimate theatre at its finest. The most striking aspect of this production are the moveable bus seats that are placed in the audience, then rolled on to the stage for bus simulations, and thrilling dance-like sequences as they move about the stage in elegant synchronicity during “On My Way”. The level of acting and music performances are so high that all it takes is Martha Carter’s artful lighting and few props to transport audiences, like bus passengers, into Violet’s journey of self-discovery and awakening.
Claire Adams. PHOTO CREDIT: MATTHEW GILMORE.
Claire Adams as Violet is forceful and honest—she’s a full embodiment of this damaged young girl on a quest to be beautiful. Adams vocal interpretation of the score’s belty vocal demands eschews the typical musical-theatre-style vibrato bright sound for a vocal quality that’s rough around the edges, dark, gritty and infectious. Her transitions from dramatic speaking to singing are utterly seamless making for a portrayal that audiences can’t help but get lost in.
L to R: Jahmaul Bakare, Claire Adams. PHOTO CREDIT: MATTHEW GILMORE
Jahmaul Bakare as Flick is the fitting compliment to Adams’ voice, anytime they sing together it’s a sweet storm of counterpoint. Additionally, Israel’s direction makes the parallel between Violet’s physical barrier and Flick’s own barrier as an African American evident in their moments together. Bakare’s multi-range voice gloriously rings in the song “Let It Sing”—the potency of his performance is felt long after the song is over.
The larger-than-life preacher (Kevin Shewey) brings energy to his scenes especially the big gospel number “Raise Me Up”, which features a gospel choir and a rousing solo by Benai Boyd, (if there’s any razzle dazzle in this show it’s here)—absolutely a blast. The flashback appearances by John Allsopp (Violet’s father) and middle schooler Lily Zager (Young Violet) make for some of the most poignant moments in the musical—both Allsopp and Zager take us down memory lane with focus and vivid dramatic singing.
Kevin Shewey, Company. PHOTO CREDIT: MATTHEW GILMORE.
WHAT ABOUT THE MUSIC DIRECTOR?
Music director and pianist, Taylor Stephenson takes us through the various musical styles of this score with ease, and aptly directs of the cast and the 6-piece band with incredible musical performances all around.
The musical Violet is reborn at Actors Co-op Theatre Company—get your bus ticket and prepare for a theatrical journey that sings of hope, faith, and inner beauty.
