Two-time Tony Award winner Sutton Foster (Anything Goes, Thoroughly Modern Millie) returns to Roundabout in the highly anticipated Broadway debut of Violet, following the acclaimed concert performance at City Center Encores! Off-Center. Winner of the Drama Critics' Circle Award and Lucille Lortel Award for Best Musical when it premiered Off-Broadway, Violet features music by Tony nominee Jeanine Tesori (Caroline, or Change, Fun Home) and book and lyrics by Brian Crawley (A Little Princess). Leigh Silverman (Chinglish, Well) directs.
Since every other song is geared to bring down the house, it's a surprise the American Airlines Theatre still stands. Several spare but lovely melodies continue to run through Tesori's music; one thing that the original Violet had going for it was simplicity, and the composer didn't overreach with a big Rosa's Turn the way she did with the eleven o'clock numbers in her subsequent shows Caroline, or Change and Fun Home. Some of that unadorned lyrical beauty remains in Violet's ballads, nicely sung by Sutton Foster. She succeeds in not competing with the showbiz brashness surrounding her, although the actress's signature can-do spunk doesn't always jibe with Violet's self-image. Perhaps that little inconsistency doesn't matter. The generic hillbilly twang that everyone sports is just make believe. Give these country folks a song, and they can't help but turn into Broadway babies.
So here it finally is, 17 years later and officially considered a revival, in a taut, vibrant, dirt-kicking show directed with exuberance and minimal fuss by Leigh Silverman...Colin Donnell plays the hunk, surprised to find himself drawn to her. Joshua Henry portrays the black man, the first Violet ever knew, who sings that he wants her to 'see me the way I see you'...In the middle of it all is Foster's Violet, with lank hair and lanky limbs and a glorious voice that cuts through complicated emotions without ever belting. She embodies both Violet's defensive armor and the childlike trust in a miracle that will give her 'Gene Tierney's eyes and Ava Gardner's eyebrows'...Yes, this is an ugly-duckling Cinderella tale about beauty being skin deep. But it is filled with unexpected details, compassion for its quirky characters and, especially, a rigorous score that reaches its own destinations through gospel, bluegrass and heart-aching anthems to tentative hopes.
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