By Charlene Baldridge | Theater Review
Chock-a-block with tunes, Jeanine Tesori’s 1997 off-Broadway musical, “Violet,” opened San Diego Repertory Theatre’s 40th season Aug. 26 (this review based on the performance of Aug. 27), featuring acclaimed musical theater performer Sutton Foster, who got her start in Tesori’s “Thoroughly Modern Millie” at La Jolla Playhouse.
In the title role of San Diego Rep’s “Violet,” recent UC San Diego MFA graduate Hannah Corrigan is a real find. She is a fine actor and has an unwavering voice of purity, integrity and quality, perfect for the score, which embraces gospel, country, blues, bluegrass and rock.
Not only that, director Sam Woodhouse surrounds Corrigan with a solid company of excellent singer/actors. When they sing ensemble, accompanied by a seven-member orchestra that includes conductor/keyboard Korrie Pallioto, the Rep’s roof raises at least 12 feet. It’s one of those rare occasions when you wish the show would go on forever. The score, largely through-sung, ranges from the tiniest, most intimate whisper to full-throated gospel.
Corrigan plays a young farmwoman from Spruce Pine, North Carolina. Violet has a horribly disfiguring scar on her face (we don’t actually see it; merely see it as reflected in the faces of others who see her for the first time). Violet has never forgiven her Father (Jason Maddy) for the accident and its aftermath. Now that he is dead and has left her a little money, she goes on a Greyhound bus quest to see a Tulsa TV evangelist (Jason Heil, perfectly smarmy), to whom she ascribes the power to rid her of her scars. Violet will come back home beautiful and triumphant. Throughout the entire musical Violet is tailed by young Violet (amazing 13-year-old singer Katelyn Katz from Carmel Valley Middle School).
On the long bus trip Violet becomes acquainted an Old Lady (Melinda Gilb, who later plays a hotel hooker to great, hilarious effect) and two soldiers, Flick (Rhett George, ye gads, he grows on you) and Monty (Jacob Caltrider, surprising in his new-found romantic machismo). Each of the men, in his own way and for his own reasons, falls in love with Violet. One white and one African-American, both are on their way to assignments, very likely in Vietnam.
Others in the company portray bus drivers, landladies, nightclub and TV congregational singers. They are the faultless Bryan Banville, Kürt Norby, Tanika Baptiste, and Anise Ritchie, all familiar from their work on local stages. Remember the Beggar Woman in Diversionary’s “A New Brain”? That was Tanika.
According to Woodhouse, speaking in a “Surround Event” pre-performance seminar, the “Violet” players have become a family, as large ensembles rarely do. This listener is a believer: They are an extraordinary group, playing, singing and moving so well (choreographer is Javier Velasco) on Giulio Perrone’s accommodatingly adaptable set (mostly unseen, the orchestra is center above). Jeanne Reith’s costumes are appropriate to the times (country cottons and socks for the girls) and environs. Lighting designer is Trevor Norton, and sound designer Kevin Athenill creates a magical balance of singers and orchestra to audience.
There are several moments so touching, so affecting, that they bring the observer to tears. The music lover goes home sated on solos, duets and ensembles of surprising variety. Violet goes home with the one who saw her beauty the moment he looked at her.
Trust me, “Violet” is a most unusual musical. Kudos to Woodhouse and all involved for bringing such a treasure to San Diego.
— Charlene Baldridge ha estado escribiendo sobre las artes desde 1979. Puedes seguir su blog en charlenebaldridge.com o llegar a ella en [email protected].
