“Purple Rain,” the movie, is an odd one. Fronted by a first-time actor and marred by misogyny and violence, it ultimately succeeds thanks to one of the greatest rock music soundtracks in history.
“Purple Rain,” the musical, is also an odd one. Fronted by a first-time actor and marred by attempts to correct that misogyny and violence, it nearly succeeds thanks to, well, the music.
After three weeks of previews — a time when producers gauge audience reaction and make changes as needed — the (reportedly) $26.5 million world premiere based on the 1984 film officially opened Wednesday night at the State Theatre in downtown Minneapolis. Friends, family and followers of the Purple One filled the crowd, including Soul Asylum’s Dave Pirner, Revolution drummer Bobby Z (who, along with Prince associate Morris Hayes, served as a musical adviser) and filmmaker Spike Lee. (Minneapolis music icon James Samuel “Cornbread” Harris Jr. was sitting behind me at the show.)
It’s not the story of Prince, but rather a loose adaptation of the film, itself a semi-autobiographical tale based on Prince, who is dubbed “the Kid.” But pretty much everyone else — Apollonia, Morris Day, the members of the Revolution — are referred to by their real names. And a significant amount of the musical takes place on a reproduction of First Avenue, awkwardly renamed “the First,” the famed nightclub where much of the film was shot. So the lines between truth and fiction understandably get blurred.
Beyond newcomer Kris Kollins in the lead role, the cast and crew are stocked with seasoned Broadway professionals, including Tony-nominated director Lileana Blain-Cruz and two-time Tony Award winner and Pulitzer Prize recipient Branden Jacobs-Jenkins, who wrote the book. “Hamilton” actor Jared Howelton steals every scene he’s in with his over-the-top and absolutely hilarious portrayal of Morris Day. (Even when he sings a song from inside of a dumpster!)
Blain-Cruz and Jacobs-Jenkins attempted to counter the rampant sexism in the movie — which includes a scene where a woman is tossed into an aforementioned dumpster — by fleshing out the characters of Apollonia and Revolution members Wendy and Lisa and exploring the Kid’s mental health issues. In the first night of previews, those changes bogged down the proceedings, which stretched past three hours (including intermission) with seemingly endless scenes weighed down with therapy speak.
Wednesday’s production made much-needed cuts and edits that dropped about a half hour’s worth of the show and gave it a more streamlined feel. At the same time, the storyline now comes across as even more muddled and confusing. One could walk away thinking it’s the story of a self-absorbed jerk who is terrible to everyone around him and magically becomes a slightly less self-absorbed jerk by the end.
The best thing that happened during previews is Kollins’ rapid development from timid amateur to captivating headliner. On the first night, he nailed Prince’s vocals but utterly lacked in stage presence whenever he wasn’t singing. His line readings still feel stilted at times, just like Prince’s felt in the movie. But now Kollins has figured out how to shine like a true star and the show’s all the better for it.
It’s worth taking a moment to acknowledge that Prince was a true musical genius, a once-in-a-generation talent who mastered every instrument he touched, wrote and performed trail-blazing, game-changing music and made it all look as easy as breathing. That Kollins can even come close to replicating any of that is incredible. “Purple Rain” is the definition of a musical that will live or die based on its lead.
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While the plot needs work that may well be impossible, the musical sequences are the real draw. Thanks to advisers Bobby Z and Hayes along with Tony Award-winning music supervisor Jason Michael Webb, the songs throb with raw energy. They also serve as a reminder that Prince drew from any number of genres including rock, funk, gospel and electropop to create such enduring numbers.
“The Beautiful Ones” closes the first act and sees the Kid attempting to win back the heart of Apollonia, played by Broadway vet Rachel Webb. The emotionally charged number, easily one of Prince’s finest moments, culminates with the Kid writhing around on the floor, screaming in agony and ecstasy, pain and release. Breathtaking is one way to describe it.
Even better is “Darling Nikki,” the famously filthy rocker that so offended Tipper Gore and other Washington wives that they created the Parental Advisory sticker for records, which ironically enough became a sort of badge of honor for some musicians. The song is a vital one from the era of Dirty Prince, long before he became a Jehovah’s Witness around the turn of the century.
Kollins performs the number on a stage bathed in deep red light and stares directly into the hand-held cameras that beam live footage to a screen above, a move used in several songs to terrific effect. For a few electrifying minutes, Kollins truly does embody Prince in all his mysterious, dangerous and sexually charged glory. Moments like that make it easier to overlook the show’s flaws.
‘Purple Rain’
When: Through Nov. 23
Where: State Theatre, 805 Hennepin Ave. S., Minneapolis
Tickets: Starting at $50.25 and priced dynamically via hennepinarts.org
Capsule: The music is the star of this show.
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