Violet, the musical by composer Jeanine Tesori and librettist Brian Crawley, took a long time transferring from Off-Broadway to Broadway, where it will open at the American Airlines Theatre April 20. Seventeen years, to be exact.
Violet was initially developed at the O'Neill Theater Center during the 1994 National Music Theatre Conference. The creators adapted it from ''The Ugliest Pilgrim,'' the most widely known short story by Doris Betts, a North Carolina author of novels and stories. (Betts passed away in 2012.)
The show received its New York premiere at Playwrights Horizons March 11, 1997, starring a young Lauren Ward as a disfigured southern girl who takes a road trip through the South of 1964 to visit an evangelist (played by Robert Westenberg) in hopes of being healed and thereafter leading a normal life. Along the way, she meets two soldiers — played by Michael Park and Michael McElroy — and unexpectedly finds love and her true self.
Susan L. Schulman was the director and Kathleen Marshall — yet to find fame as a director in her own right — was choreographer.
Violet was the first big New York show for Tesori, who would go on to write Thoroughly Modern Millie, which won a 2002 Tony Award at Best Musical; Caroline, or Change, which transferred from the Public Theater to Broadway; Shrek, which played Broadway in 2009; and Fun Home, which was critically acclaimed at the Public Theater in 2013. (Violet remains the best-known credit of Brian Crawley.)
The show did fairly well, critically, receiving nominations for a 1997 Outer Critics Circle Award for Outstanding Off-Broadway Musical, and it won Lortel and Drama Critics’ Circle Awards for Best Musical. Additionally, Tesori received a special citation from the Obies. An original cast recording was released in 1998.
Despite all those accolades, the show did not transfer to a commercial run, Off-Broadway or on. It went on to have several regional productions, but, in the years following its run, was little discussed or remembered in New York circles. The underwhelming 1997 review by the New York Times probably didn’t help. “Still, for theatergoers attending this sweet-tempered, high-reaching show at Playwrights Horizons about a disfigured woman's quest for beauty, a suspicion may arise early that Violet isn't quite as different as her creators intend her to be,” wrote the paper at the time. “Nor, for that matter, is the musical itself.”
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