Philadelphia Weekly

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After a so-so first act the Broadway musical The Color Purple (which hits town on its maiden national tour) wins you over with a heart bigger than producer Oprah Winfrey's bank account.

Based on Alice Walker's Pulitzer Prize- winning novel and Steven Spielberg's tear- jerking film adaptation, the story begins in Georgia, 1909. Although a generation removed from slavery, Celie (Jeannette Bayardelle) is still in bondage. Repeatedly raped by her stepfather, Celie is forced to marry a farmer who abuses her emotionally and physically. Eventually, in her relationships with independent-minded women, Celie finds the courage to break free of her marital bonds.

The artistic team behind Purple isn't your usual collection of Broadway veterans. Brenda Russell, Allee Willis and Stephen Bray, the three composer/lyricists responsible for Purple's ambitiously diverse score, are best known for their work in film and with such recording stars as Madonna and Sting. Director Gary Griffin is best known for his work with Chicago Shakespeare Theatre. Only librettist Marsha Norman (who won a Pulitzer Prize for the gut-wrenching drama 'Night, Mother and a Tony Award as the librettist on The Secret Garden) has substantial Broadway experience.

Walker's epic tale of courage and conviction features a large array of characters, nearly all of whom are introduced in the exposition-heavy opening act. Adapting the story for the stage, Norman manages the narrative deftly. While the opening act isn't exactly thrilling, at least it's involving.

Act II is a different story. With the introductions out of the way Purple gets down to business with an emotional firestorm that's alternately amusing, joyous, tragic and uplifting.

All the richest characters in Purple are women, and the large cast plays them beautifully. Bayardelle is superb at suggesting Celie's determination, and Angela Robinson is terrific as the tough-as-nails and sexy-as-hell songstress Shug Avery.

But the show's most entertaining portrayal belongs to Felicia P. Fields, whose show- stopping performance as the muscular and outspoken Sofia garnered Fields a well- deserved Tony nomination.

With its mix of comedy and tragedy (an Easter dinner scene moves between the two so quickly your head spins), archetypal characters and inspirational message, Purple borrows from urban theater yet remains rooted in classic Broadway tradition through conventional staging. Though the characters are all black, their experiences are not defined solely by race.

In the end it's neither Purple's concept nor its passionate zeal that makes the show an artistic triumph and a box office smash. One of the few Broadway musicals to attract black and white theatergoers in equal numbers, Purple's formula for success is a simple one: Put an involving story, compelling characters, terrific music and magnificent performances onstage and theatergoers are bound to follow.

Duet Ex Machina

Local songwriters Dan Martin and Michael Biello's musical revue Q: The Songs of Martin and Biello has a lot of things going for it. But what it doesn't have is broad appeal. First seen locally at the 2002 Philadelphia Fringe Festival, the show reappears at the sixth annual Philadelphia Gay and Lesbian Theatre Festival with two new songs and a fresh-faced cast. Director Bill Felty has assembled a likable and vocally compatible five-member cast. Promising newcomer Aime Kelly shines on the "Bi Blues," Michael Newman gives a surprisingly sophisticated portrayal of a man prowling for anonymous sex on "One He Loves/Last Night," Nicholas Park is endearing as a lovestruck waiter on the stand-out number "Table No. 3," and Amy Acchione is hilarious while singing about the joys of masturbation on the amusing "Annie Sprinkle." Q is an appealing revue that gay audiences should enjoy, but six years after its local debut it feels like a piece of nostalgia from a simpler time. "Love yourself for who you are" is a worthy message, but considering their obvious talents perhaps it's time Martin and Biello moved beyond themes of self-acceptance to confront other current concerns facing the gay, lesbian, bisexual and transgender community. (J.C.R.)

Through June 28. $17.50.
Walnut Street Theatre Studio 5,
825 Walnut St.
215.627.6483.
www.pgltf.org