Brian Crawley, Jeanine Tesori - Violet (1998 Original Off-Broadway Cast)

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Music reviews of Violet (1998 Original Off-Broadway Cast)

Music Review: A little-known gem of a musical
Rating: 4 Stars

Thus begins the story of Violet, the Off-Broadway show with music by Jeanine Tesori, and book & lyrics by Brian Crawley. Ms. Tesori is now best-known for her work on the score of Thoroughly Modern Millie, but Violet is a soft-spoken gem from 1998 that more clearly defines her potential.

Based on Doris Betts's story, "The Ugliest Pilgrim", Violet follows the journey of a young woman on her pilgrimage to see a televangelist in Oklahoma. Violet's face was terribly scarred in an accident when she was 13; now 25, she is convinced that the televangelist, channeling God, can provide her with a new face.

Most of the story is spent with Violet on her journey, with frequent flashbacks and split scenes filling in the details of how the accident occurred, how blame was laid, and how 12 years of feeling ugly shaped Violet into the woman on the bus. Along the way, Violet also attracts the attention of two soldiers (Flick and Monty) on their way to assignments in Arkansas. Both are interested in her, and Violet explores friendships with both, but she is determined to see the preacher in Tulsa and won't abandon her quest for anyone.

The score for Violet is deeply grounded in country, gospel and blues music, set as it is in the bible belt, 1964. This recording features the Broadway Gospel Choir for the scenes in Oklahoma, and they add great weight and power to "Raise Me Up", the musical's rousing gospel number.

Jeanine Tesori has provided us with a score that could probably be used as a textbook example of musical theatre form; she introduces several themes used to represent concepts and feelings, which appear and re-appear in different contexts throughout the piece, delivered by different people in slightly different ways. The score represents the cycle of a journey and cleverly leaves us in the same place it begins, but with a totally different emphasis brought to the same musical phrases. The simultaneous existence of Violet in two different time frames is used to great effect, where incredible strength of emotion is presented by having the older and younger Violets performing together to illustrate how events in her past connect Violet to her current state of mind. Not content to leave that as her only device, the score also makes judicious use of "Joe Q Public" to echo the sentiments of the main characters: other passengers on the bus and residents of the cities visited respond indirectly to main themes, purposely elevating the emotional journey to a level with which we can all relate. In addition, Ms. Tesori and Mr. Crawley are unafraid of toying with traditional melodic and lyrical conventions, using various tricks to tease you into thinking rhymes and melodies are predictable before taking them on unexpected turns.

Performances on the recording are consistently strong. As Violet, Lauren Ward projects the kind of awkward confidence one expects from someone who builds a personal shield to hide internal pain. Amanda Posner portrays Young Vi, and the sense of connection between the older and younger versions of Violet, though aided to great extent by the score, is immediate. In rare instances where Ms. Posner and Ms. Ward sing together, the combination is both eerie and deeply moving. As the two soldiers, Michael McElroy (Flick) and Michael Park (Monty) are well contrasted: both voices exhibit exquisite warmth when required. Robert Westenberg makes an irritatingly good southern Baptist preacher; Stephen Lee Anderson provides a meaty portrayal of Violet's father - tortured with guilt over the accident that scarred his daughter, frustrated at her anger, and endearing in his expressions of love for Violet.

As an aside, one of the most interesting aspects of this recording are the current "big names" buried in the cast list as additional performers, used especially for the recording: Darius De Haas, Brian D'Arcy James, Tracy Nicole Chapman, John Treacy Egan, Norm Lewis, Christiane Noll, and several others have all lent their voices to the CD. Most are members of the Broadway Gospel Choir, which was conceived and is directed by Michael McElroy (Flick).

Individually, the score and performances are strong; together they soar. The first half of the score serves as setup, it seems, for after Violet meets the preacher in Oklahoma for her healing, many of the same melodies are reprised in a sweeping torrent that carries you to the musical's hopeful, uplifting conclusion. Melodies like those presented "Water In The Well" and "On My Way" will hook you; "M&Ms" and "Luck of the Draw" will attract smiles; "Lay Down Your Head", "Promise Me, Violet", "Look At Me" and "That's What I Could Do" add emotional weight to the mix. In concert, the result is a recording that will wrap you up in its sincerity and leave you feeling exhilarated and painfully human. This recording is best experienced after having read through the synopsis, as the jumps between characters and places may be hard to follow without the aid of some background.

It's a shame that the score for Violet is not better known, because I think it's a fantastic score. The musical seems to be on its way to becoming something of a "sleeper hit", though, with regional and community productions all over North America winning rave reviews. Even if you are not a fan of country, gospel or blues music, you'll find a lot to like about Violet.

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