The Black Rep’s staging of “The Color Purple” offers two reasons to celebrate. The first reason is the start of The Black Rep’s 50th season. The second is a magnificent production that is worthy of the company’s landmark anniversary.

The musical is adaptation of Alice Walker’s 1982 novel and Steven Spielberg 1985 film of the same name. Marsha Norman’s book is beautifully crafted, as are the music and lyrics by Brenda Russell, Allee Willis, and Stephen Bray.

At the start, the main character, Celie, is 14 years old and pregnant for the second time by her father, Pa. He takes this baby from her after it is born, just as he took the first one.  The only source of joy in Celie’s life is her deep, loving connection with her sister, Nettie.

Celie’s life is still miserable after Pa after marries her off to Mister. He wanted to marry the prettier Nettie, but Pa would not allow it. The disappointed Mister subjects Celie to physical and emotional abuse.

Nettie flees from Pa’s house to escape his attempts to abuse her. She moves in with Celie, only to be subjected to Mister’s sexual advances. After Nettie rebuffs him, Mister throws her off his property and promises to keep the sisters apart forever. Remarkably, Celie weathers all her tribulations and triumphs at the end.

The Black Rep production is enthralling from start to finish. The dramatic scenes are riveting under Daniel Bryant’s direction. The musical numbers are superb under musical director Jermaine Manor and choreographer Heather Beal.

Angela Wildflower portrays Celie with astonishing credibility and brilliant vocalism. As Mister, Kelvin Roston, Jr. makes an amazingly convincing transition from the villainous abuser in Act 1 to the reformed penitent of Act 2.

Each characterization is a gem in the performances by Alexis J. Roston as Shug, Adrienne Spann as Sophia, Brian McKinley as Harpo, Morgan Taylor as Nettie, Tyler White as Squeak, J. Samuel Davis as Pa, Olajuwon Davis as the preacher, Dajuan Johnson as Bobby, and Anita Jackson, Amber Rose, and Olivia Neal as church ladies.

Tim Jones’ spare scenic design provides a flexible palette for the action. The set holds a delightful surprise for the African scene, as do Michael Sullivan’s lighting, Jarrod Barnes’ costumes, and Justin Schmitz’s sound. The props maker is Mikhail Lynn; the fight choreographer is Paul Steger.

“The Color Purple” continues through September 27, 2026, at the Edison Theatre, 6465 Forsyth Boulevard.

—Gerry Kowarsky

Photo by Arieona Phillips
The ensemble of “The Color Purple”