Theater Review: Bay Area Musicals Presents Violet, a Story of Acceptance and Self-love

Andrea Dennison-Laufer, Danielle Philapil, Tanika Baptiste (Passengers), Jon-David Randle (Flick), Juliana Lustenader (Violet), and Jourdán Olivier-Verdé (Bus Driver #2) in Bay Area Musicals’ production of VIOLET. (Photo courtesy of Ben Krantz Studio, 2019.)

Violet is the perfect follow up to last season’s Crazy for You. With a similar small-town country-twang and a southern gothic feel, this musical follows the story of Violet, a young woman with a mysterious scar headed out on a mysterious journey.

We meet her pre-boarding at the bus stop, played by Juliana Lustenader, who’s got the voice of an angel. Musical director Jon Gallo and director Dyan McBride allow the highs and lows of Violet’s emotions to be masterfully controlled in every song. Lustenader is a singer who can whisper with the same energy that she can belt. The cherry on top is the perfect costuming by Brooke Jenning; gorgeous vintage pieces and eye-catching accessories are aided by Matthew McCoy’s quirky choreography, or vice versa.

There’s some unnecessary movement in the stage work, and there’s a chorus that’s artfully hidden to the audience, but begs to be seen. En route, we arrive at a diner where Violet encounters two men off to Vietnam, Flick (Jon-David Randle) and Monty (Jack O’Reilly). It’s here we also meet her father (Eric Neiman) via a flashback. 

The chemistry between Neiman and Lustenader is impeccable as father and daughter. Neiman brings high stakes to his role, and, for both parties involved, it’s truly heartbreaking to watch their interactions and misunderstandings unfold. Those scenes are some of the best in the entire musical.

Which makes us wonder where the chemistry lies between Flick, Monty, and Violet? It’s just not quite there, and may be an issue of a play growing old with time. Though it’s a beautifully constructed play about beauty and acceptance — themes we currently want to see on stage — there’s a feeling that Flick and Monty would serve the plot better if they remained metaphors for Violet’s journey toward self-discovery. Once they become tangible, the metaphor no longer serves her. It’s not the story we are rooting for; we are rooting for Violet. Time spent in those back-and-forths is time we would rather spend with Violet.

Violet is presented by Bay Area Musicals at the Alcazar Theatre in San Francisco, playing now through March 17th.  Tickets and more information are available here