Violet, American Airlines Theater, New York Wednesday August 6th 2014
Forgive if there any errors or please contact me re errors. Thank you.
For those new to my blog I write about the holistic experience of attending the theatre.
This is the first time seeing a show at the 700 seat American Airlines Theater. What a treat to see Sutton Foster in such a pivotal role as "Violet" by the Roundabout Theatre Company in the perfectly size theatre for this musical to create intimacy and allow us to journey with Violet.
We have been blessed to see "Death Takes a Holiday"by the Roundabout Theatre Company and what a treat to see another of their productions.
"Violet"is based upon Doris Betts's "The Ugliest Pilgrim" which has music by Jeanine Tesori and Book and Lyrics by Brian Crowley. It is like the Hans Christian Anderson story "The Ugly Duckling" does a religious revivalist meeting. I received the "Violet" CD a few weeks before departure and loved its message instantly. I was grateful that we had taken the risk to book this show in advance.
"Violet" is directed with simple precision by Leigh Silverman and intersperses the back story of the young Violet's accident in bite sized segments to give dramatic impact to the adult Violet's life story. It is a musical with a deep message that touches some people so much that they have quivering or life-forgiving releases of tension. It is like a song of forgiveness. For example, the life-long memories of enduring of school yard bullying or a violent family home.
"Violet" the musical sings of hope, respect, dignity, self belief, character building, confidence, assurance, dreams and broken dreams, promises and broken promises, To me it is also about the way religion can rape our soul by their promises of deliverance. It is your choice to make your own changes.
"Water in the Well" sets the scene with the young and adult versions of Violet played by Emerson Steel and Sutton Foster. This sets the tone for the show and you know that both characters are gong to tell the story. Both work together like Siamese twins to create Violet's full character.
"Violet" is about a young girl who was accidentally axed by her father and disfigured twelve years earlier.
The whole show is like a confessional and we are witnessing the psychological back story in stages. These are told through the young and adult Violet giving us insight into her feelings, motives and desires.
"On My Way" has Violet travelling to meet up with her preacher of hope who can cure her disfigurement and make her beautiful like Ava Gardner. Sutton Foster sings this with naivety, hope and innocence.
There is simple staging that mainly uses chairs and tables for the bus and cafes. The set design is by David Zinn is effective and has a used worn blue paint that ages the set and adds to the atmospheres of the various locations. The bed slides in and out from under the band's stage. A preacher stand also rolls out for this minimalist set.
"Surprised" sung with passion by Violet has us in the palm of Sutton Foster's hand.
"On My Way" has Violet travelling to meet up with her preacher of hope who can cure her disfigurement and make her beautiful like Ava Gardner. Sutton Foster sings this with naivety, hope and innocence.
There is simple staging that mainly uses chairs and tables for the bus and cafes. The set design is by David Zinn is effective and has a used worn blue paint that ages the set and adds to the atmospheres of the various locations. The bed slides in and out from under the band's stage. A preacher stand also rolls out for this minimalist set.
The lighting by Mark Barton is very good. His green neon sign "Vacancy" gives so much context to the location. The rich red lighting for the chapel scene and other spots to create atmospheres specific to their location.
The various neon signs gave us a sense of period and locations. The slow build of light for the healing of Violet made Sutton Foster glow, shine and radiate and assist in her transformation. Perfectly simple devices. She was in a halo of charismatic light.
Talking to other people who had seen "Violet", many of the older audience got confused about the young and old Violet. Some missed the point and asked why they had the two Violets.
I suggest a different glow of light for the young Violet to reduce the age and memory/back story of young Violet confusion. A simple lighting change could have highlighted the suggestion of the "ghostly memory of youth." For example, when Violet makes peace and lets go of her younger self, the young Violet could exit in a tunnel of light that fades or another similar change to distinguish this releasing moment.
The direction by Leigh Silverman provides a varying pace and moving story that lifts our soul in joy with the majesty of this work. I particularly enjoyed the relationships developed between Violet and Flick, Monty, her father and her young self. There was the constant triangle of Violet with her father and younger self, or the triangle with Flick and Monty. The two triangles create the square of balance for the show. The old memories and the new memories fit nicely into her luggage - her box! The luggage is a symbol of our life and the baggage that we carry around with us.
"Luck of the Draw" we see a 20 minute bus stop and Violet plays cards and we see how she learnt to play cards to improve her mathematical skills as a child. The timing of the hand movements between the young and adult Violet would at times correspond in unison and at other times suggest this unity. There was a canon effect that would merge together like in a Dalcroze eurythmics exercise of "Unity of Time."
"Questions 'n Answer" between Violet and Monty played by Colin Donnell with his handsome features and his harmonically rich and melodic voice provide level of tension to her journey.
"You choose your own way" says Flick and it is as if we can only heal ourselves with one step at a time. Flick is like the sage to Violet, even though she treats him with politically incorrect behaviour but tolerated behaviour at that time. This makes us laugh with politically incorrect recognition. Flick shows his strength through this. "You gotta do what you gotta do" he tells Violet. Such an inspirational line and more so by the sincerity of Joshua Henry,.
"All to Pieces" is a trio with Flick played sensationally by Joshua Henry, with Monty and Violet. Joshua Henry. has a charismatic presence and beautifully rich voice.
"Let it Sing" by Flick brought the house down with his full voice and compassionate performance
by Joshua Henry. The lights build to create a visual climax and support this fine performance.
"All to Pieces" is a trio with Flick played sensationally by Joshua Henry, with Monty and Violet. Joshua Henry. has a charismatic presence and beautifully rich voice.
"Let it Sing" by Flick brought the house down with his full voice and compassionate performance
by Joshua Henry. The lights build to create a visual climax and support this fine performance.
"Anyone Would Do" by the Hotel Hooker shows the loneliness of life on the road and how people need people and it also shows how people treat others as disposable tissues. Annie Golden as the Hotel Hooker gave us the torch song of desperation.
"Last Time I Came to Memphis" by Monty starts with quite a discordant sound and adds to the edgy sleazy nature of his advances to Violet.
"Lonely Stranger" by the Music Hall Singer played Anastacia McCleskey gives us another perspective of loneliness and hope that allows us time to ponder Violet's dreams. She is fine actor who transforms into the various roles with Michael Chekhov "lightness and ease."
"Lay Down Your Head" is the post coital song that Violet sings to herself as Monty sleeps after his sexual "little death." We also have the young Violet showing us her first sexual encounter and this counterpointing highlights the disposability of a sexual one night stand. It reminds me of th e poignant "Where Is Love" from Lionel Bart's "Oliver" to gently tell us about hope.
The reprise of "Anyone Would Do" by the Hotel Hooker, Almeta, and the Music Hall Singer emphasises that everyone is after acceptance in a way that satisfies them, whether it is financial, career or love. Or simply they want the acceptance or recognition that the individual exists! The triangular shape sublimely suggests the dilemma that will face Violet.
"Hard to Say Goodbye" between Flick and Violet develops Flick's care for Violet. This is a song with such deep emotion it stirs you up with our own memories of saying goodbye.
"Promise Me, Violet" a trio of Violet, Flick and Monty is a song of promises, potential broken promises, faith, building trust, and deception. It is also counter-pointed as a song of hope and love.
"Raise Me Up" reminded me of the cliched moments from "Memphis" and "Sister Act" with the obligatory reveal of the stained glass windows and the chapel red robes. This is the only time the back curtain is used and is appropriate as the curtain opens it signifies the gateway to Violet's acceptance of self. I thought this scene could have been shortened as it made its point quickly. Gorgeous harmonies and a beautiful solo singer by Rema Webb as Lula Buffington.
A line "Nobody talks to the preacher without talking to me first" is a line by your classic gate keeper. An emphatic "Anybody!" provides a pause and silence from the audience. The silence showed us our recognition of the hypocrisy of these conmen. It highlights what we have control over. This links into the work of Martin Seligman "What You Can Change and What You Can't." One line or one word speaks volumes so succinctly.
"Down the Mountain" gave us the background information about the axing accident of Violet. It is played with sincerity and interweaving of memory of simultaneous and overlapping dialogue which heightens the emotional journey towards reconciliation with herself.
As some audience members got confused between the young and old Violet, I feel that the lighting could have distinguished between them both. The memory of self of the young Violet compared to the Violet of the present time. Sharpening the dialogue with elaboration would make this clearer. "Heathers The Musical" made the difference clearer by using the body posture of the dead Heather and her physical relationship to Veronica and with a subtle light glow.
There is a scene where Violet takes over the pulpit to assert herself and her dreams and desires. She is learning to accept herself and is going through the emotional connection to begin the letting-go process. The young Violet walks backwards offstage to signify the adult Violet is letting go of her pain and hurt. A beautiful moment. (Though the lighting could have created more impact at this important moment.)
"Look at Me" was a brilliant solo for Violet sung by Sutton Foster trying to get her father to look at her disfigured self. If she could not get her father to look at her then how could she face life let alone look into the mirror each day.
"Violet" shows us the good and evil aspects of life: the spin of religious conmen, the fraility of
human relationships, our belief systems, father and daughter relationship, our childhood memories, independence, trust, faith, hope and the manipulation of all of these.
"Violet" is a great companion piece to the musicals "Heathers The Musical" and "Beautiful." Sutton Foster is sublime in a role that stretches her as an actress and us as an audience, it is like we are travelling on her transformational journey on Broadway too.
"Last Time I Came to Memphis" by Monty starts with quite a discordant sound and adds to the edgy sleazy nature of his advances to Violet.
"Lonely Stranger" by the Music Hall Singer played Anastacia McCleskey gives us another perspective of loneliness and hope that allows us time to ponder Violet's dreams. She is fine actor who transforms into the various roles with Michael Chekhov "lightness and ease."
"Lay Down Your Head" is the post coital song that Violet sings to herself as Monty sleeps after his sexual "little death." We also have the young Violet showing us her first sexual encounter and this counterpointing highlights the disposability of a sexual one night stand. It reminds me of th e poignant "Where Is Love" from Lionel Bart's "Oliver" to gently tell us about hope.
The reprise of "Anyone Would Do" by the Hotel Hooker, Almeta, and the Music Hall Singer emphasises that everyone is after acceptance in a way that satisfies them, whether it is financial, career or love. Or simply they want the acceptance or recognition that the individual exists! The triangular shape sublimely suggests the dilemma that will face Violet.
"Hard to Say Goodbye" between Flick and Violet develops Flick's care for Violet. This is a song with such deep emotion it stirs you up with our own memories of saying goodbye.
"Promise Me, Violet" a trio of Violet, Flick and Monty is a song of promises, potential broken promises, faith, building trust, and deception. It is also counter-pointed as a song of hope and love.
A line "Nobody talks to the preacher without talking to me first" is a line by your classic gate keeper. An emphatic "Anybody!" provides a pause and silence from the audience. The silence showed us our recognition of the hypocrisy of these conmen. It highlights what we have control over. This links into the work of Martin Seligman "What You Can Change and What You Can't." One line or one word speaks volumes so succinctly.
"Down the Mountain" gave us the background information about the axing accident of Violet. It is played with sincerity and interweaving of memory of simultaneous and overlapping dialogue which heightens the emotional journey towards reconciliation with herself.
As some audience members got confused between the young and old Violet, I feel that the lighting could have distinguished between them both. The memory of self of the young Violet compared to the Violet of the present time. Sharpening the dialogue with elaboration would make this clearer. "Heathers The Musical" made the difference clearer by using the body posture of the dead Heather and her physical relationship to Veronica and with a subtle light glow.
There is a scene where Violet takes over the pulpit to assert herself and her dreams and desires. She is learning to accept herself and is going through the emotional connection to begin the letting-go process. The young Violet walks backwards offstage to signify the adult Violet is letting go of her pain and hurt. A beautiful moment. (Though the lighting could have created more impact at this important moment.)
My partner thought the band on stage was distracting as you only need to hear them. I disagreed as it gave it the feel for the era and the various locations of the bus stops and bar scenes.
"That's What I Could Do" by Violet's father played skilfully with paternal detachment by Alexander Gemignani that had many tears rolling down many faces in the audience. This is a brilliantly honest emotional solo. Their cold familial relationship and the pain allowed many in the audience to feel some peace at Violet's journey. Thank you Alexander Gemignani for assisting many to let go of some pain.
"That's What I Could Do" by Violet's father played skilfully with paternal detachment by Alexander Gemignani that had many tears rolling down many faces in the audience. This is a brilliantly honest emotional solo. Their cold familial relationship and the pain allowed many in the audience to feel some peace at Violet's journey. Thank you Alexander Gemignani for assisting many to let go of some pain.
"Promise Me Violet" (reprise) by Flick and Violet is a song of hope and love.
"Bring Me to Light" provides us with the final images of each character carrying their luggage lightly - as if they are releasing their own emotional baggage from their lives. It is a revelation that only we, alone, can change ourselves. That is why this is such a masterful work of healing for many people.
"Bring Me to Light" provides us with the final images of each character carrying their luggage lightly - as if they are releasing their own emotional baggage from their lives. It is a revelation that only we, alone, can change ourselves. That is why this is such a masterful work of healing for many people.
human relationships, our belief systems, father and daughter relationship, our childhood memories, independence, trust, faith, hope and the manipulation of all of these.
"Violet" is a great companion piece to the musicals "Heathers The Musical" and "Beautiful." Sutton Foster is sublime in a role that stretches her as an actress and us as an audience, it is like we are travelling on her transformational journey on Broadway too.
"Violet" is about so many aspects of human nature that it moved some people to tears with recognition of their own journey. With the letting go and acceptance of Violet's self we appreciate more about the beauty of life. It is about gratitude. As Martin Seligman suggests gratitude brings happiness. It is about growth, and, thank you Roundabout Theater for growing our perspective with this beautifully written and composed musical.
The American Airlines Theater staff of ushers and crew all need to be congratulated for their vigilance in respecting that attending the theatre is an occasion and can be expensive. They show respect by trying to ensure that everyone's attendance is not disrupted by annoying phones beeping or flashing to check the time!
Off means off! Not silent. Off with cell phones please!
Thank you American Airlines Theater and also St James Theater as you both win my "respect this moment" or "respect this memory" award!
A friend of mine from New York was sitting in the Orchestra at this same performance. She told me about one young lady in the audience who was openly crying, not tears rolling down her face, but convulsively weeping and as a result was being assisted in being healed by Violet.
Thank you to Roundabout Theater and to the producers of "Violet" for bringing it to Broadway.
This production receives 8 /10.
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