Violet 

Reviewed by Dana Martin 
Actors Co-op at Crossley Theater 
Extended through June 30th 

It’s all heart and occasional soul at the Crossley Theater. Violet, the 2014 Tony nominated musical for best revival by Jeanine Tesori and Brian Crawley, tells an unusual tale about a young woman in search of a miracle. The musical’s score is potent and complex, blending gospel, country, blues and honky-tonk, while the book is often too simplistic. Based on the short story “The Ugliest Pilgrim” by Doris Betts, Violet, an ambitious undertaking by the Actors Co-op, receives earnest but uneven treatment.

It’s 1964 and Violet Karl (Claire Adams), a precocious and preoccupied young woman, is traveling from the mountains of North Carolina to Tulsa, Oklahoma. Violet intends to receive physical healing from a slick and flashy televangelist (Kevin Shewey) after an accident several years prior left her face dramatically disfigured. She’s become debilitated by the notion of being rejected because of her appearance and has grown obsessed with the idea of becoming divinely healed.  Violet’s complicated relationship with her father (John Allsopp) plagues her journey toward healing, and the details of their fraught relationship are gradually revealed. She befriends two young soldiers, Flick (Jamaul Bakare) and Monty (Morgan West), and the young men soon vie for Violet’s affection. Monty is charmed by Violet and looking for a fling, while Flick, a young black man, deeply empathizes with Violet’s pain. He implores her not to rely on anyone to heal or transform her and to accept who she Is. Obsessed with the desire for conventional beauty, Violet is blind to the friendship, love and support right in front of her.

Claire Adams, endearing and earnest as the play’s title character, periodically pushes her vocals and the play’s emotional moments.  Adams is at her best when she finds Violet’s simplicity and vulnerability. She seems to relax into the music as the story progresses. Jamaul Bakare’s Flick is warm, wise and unassuming, and Bakare’s singing voice is pure and powerful. John Allsopp is guarded and tense as Violet’s father and Lily Zager shines as Young Vi. The ensemble provides the play’s most soulful and powerful moments, evoking tight harmonies and full sound, including a standout featured performance by Benai Boyd.

Richard Israel’s staging hits all the right marks but often feels rigid — missing the vulnerability and fragility the story requires. Much of the action takes place on a bus, and Nicholas Acciani’s efficient set design effectively captures the feeling of a cramped vehicle. Lighting design by Martha Carter is clean and appealing. Costume design by Wendell C. Carmichael is crisp and vibrant. Overall, the blend of sound is problematic, though; solos, duets and trios often had the actors competing to be heard over the 5-piece orchestra and having to strain vocally. 

Violet is a challenging musical in every way. It’s a compelling and unusual tale about seeking change through divine intervention, only to find it in the most unexpected, subtle ways. Profound healing power is found within, and self-acceptance is the greatest miracle of all, none of which would be discovered if not for the journey. The Lord works in mysterious ways.

Crossley Theater, 1760 N. Gower St., Hollywood; Fri.-Sat., 8 p.m.; Sat., May 19 & 26, 2:30 p.m.; Sun., 2:30 p.m.; Extended through June 30th. (323) 462-8460462-8460 or actorsco-op.org. Running time: two hours with one intermission.