In the musical "Finian's Rainbow", an old fashioned Southern plantation owner shows his racism by literally getting excited by having his newly hired black servant shuffle slowly along while serving him a mint julep, shuffling back and forth as if he was Bill "Bojangles" Robinson in a Shirley Temple movie. That 1940's musical took the subject of racism, mixed in a little bit of Irish blarney with some magic thrown in and asked its audience to "Look to the Rainbow" to follow their dream and learn to live together in harmony. "Purlie Victorious" was a later play which focused on similar themes but used a bit of wit and a lot of smarts to out-smart the racist "Old Cap'n", still thinking he was living in the old south with "happy darkies" who loved the life provided for them long after slavery was over.
Musicalizing "Purlie Victorious" was an excellent idea because like other plays, the story cries for music. The result was a major hit for Broadway in the early 1970's that came at a very opportunistic time as the theater was crying to be integrated as evidenced by a hit all-black cast production of "Hello, Dolly!" and the innovative new plays by black artists which took both Off Broadway and Broadway by storm. Running for two years, "Purlie" created some new stars, particularly Melba Moore as the sweet ingénue ("Lutiebelle Gussie Mae Jenkins") Cleavon Little as the title character. For this Showtime filming, Moore repeated her role (along with some of the original cast) but Little was replaced by none other than "Benson", Robert Guillaume.
Brandon Maggart takes on the role of the racist Ole' Cap'n who at the beginning of the musical is being memorialized with a huge opening number. "Walk Him Up the Stairs!" actually mocks the deceased who would hate being sent to his maker (or the alternative most likely in his case) while "colored folks" sang an old spiritual to send him off. The number includes some lively dancing and is recreated here by Linda Hopkins who originated the role on Broadway. Sherman Hemlsey ("The Jeffersons") also repeats his role as Purlie's pal, Gitlow. Practically the entire show is reproduced, including Moore's big solo hit, "I Got Love", one of the liveliest female solos ever recorded for Broadway.
Rhetta Hughes takes on the role of the lovable Missy who sings the moving "He Can Do It", one of the greatest songs of support ever since the days Rodgers and Hammerstein wrote similar songs for Aunt Eller, Nettie Fowler, Bloody Mary, Lady Thiang and the Mother Superior. Don Chastain takes on the role of Ole' Cap'n's kin-folk who is aware that racism is wrong and longs to right the wrongs of the past generations of his family. In fact, what seems like a running gag throughout the show turns out to be the show's profound wrap-up, "The World Is Comin' to a Start", that proves that the newer generation has learned some important lessons about humanity and will not repeat their ancestors mistakes. We Hope.
Musicalizing "Purlie Victorious" was an excellent idea because like other plays, the story cries for music. The result was a major hit for Broadway in the early 1970's that came at a very opportunistic time as the theater was crying to be integrated as evidenced by a hit all-black cast production of "Hello, Dolly!" and the innovative new plays by black artists which took both Off Broadway and Broadway by storm. Running for two years, "Purlie" created some new stars, particularly Melba Moore as the sweet ingénue ("Lutiebelle Gussie Mae Jenkins") Cleavon Little as the title character. For this Showtime filming, Moore repeated her role (along with some of the original cast) but Little was replaced by none other than "Benson", Robert Guillaume.
Brandon Maggart takes on the role of the racist Ole' Cap'n who at the beginning of the musical is being memorialized with a huge opening number. "Walk Him Up the Stairs!" actually mocks the deceased who would hate being sent to his maker (or the alternative most likely in his case) while "colored folks" sang an old spiritual to send him off. The number includes some lively dancing and is recreated here by Linda Hopkins who originated the role on Broadway. Sherman Hemlsey ("The Jeffersons") also repeats his role as Purlie's pal, Gitlow. Practically the entire show is reproduced, including Moore's big solo hit, "I Got Love", one of the liveliest female solos ever recorded for Broadway.
Rhetta Hughes takes on the role of the lovable Missy who sings the moving "He Can Do It", one of the greatest songs of support ever since the days Rodgers and Hammerstein wrote similar songs for Aunt Eller, Nettie Fowler, Bloody Mary, Lady Thiang and the Mother Superior. Don Chastain takes on the role of Ole' Cap'n's kin-folk who is aware that racism is wrong and longs to right the wrongs of the past generations of his family. In fact, what seems like a running gag throughout the show turns out to be the show's profound wrap-up, "The World Is Comin' to a Start", that proves that the newer generation has learned some important lessons about humanity and will not repeat their ancestors mistakes. We Hope.