Susan Granger’s review of “Violet” (Roundabout Theatre Co. at American Airlines Theater)
Two-time Tony Award winner Sutton Foster’s back on Broadway in Jeanine Tesori and Brian Crawley’s low-key, country/bluegrass, gospel-flavored 1977 musical about a vulnerable, scarred 25 year-old who – in the segregated American South in September, 1964 – sets off to see a televangelist she hopes will heal her. Expertly directed by Leigh Silverman, her arduous Greyhound bus trip turns out to be a heart-warming journey to self-acceptance.
An orphaned farm girl, Violet Karl (Sutton Foster) is determined to exorcise her demons when she leaves her tiny hometown in the Blue Ridge Mountains of North Carolina to head for Tulsa, Oklahoma. Facially disfigured by an accident from a flying axe blade wielded by her widower father (Alexander Gamignani), she’s acutely self-conscious – although the actual scar is left to the audience’s imagination – and filled with dreams about acquiring Gene Tierney’s eyes, Grace Kelly’s nose, Ingrid Bergman’s cheekbones, Judy Garland’s chin and Rita Hayworth’s skin. Among her fellow travelers are an anxious, elderly lady (Annie Golden) and two young soldiers, fresh out of boot camp and likely to be shipped out to Vietnam: womanizing Monty (Colin Donnell) and his African-American buddy, Flick (Joshua Henry). By the time they stop for an overnight in Memphis, Violet has teamed up with the guys, who vie for her attention, as she determinedly prepares to visit the self-proclaimed miracle worker (Ben Davis).
Based on “The Ugliest Pilgrim,” a short story by Doris Betts, this revival was ignited by an Encores! Concert event in 2013 that solidified Sutton Foster’s commitment to the project. Perching music director Michael Rafter and his nine-piece band on-stage, the Roundabout Theater has kept the concept simple and unadorned, eschewing the usual Broadway glitz and glamor. David Zinn’s utilitarian, A-frame set serves as the bus station, diner, gas station, hotel, Beale Street bar and church hall. And talented newcomer Emerson Steele embodies Violet in numerous flashbacks as a feisty 13 year-old, while the most memorable musical numbers include “On My Way” and “Let It Sing.”
It’s captivating, richly soul-satisfying theater.