Photo by Matthew Murphy
Wednesday night, downtown Minneapolis was bathed in a purple glow for the opening night of “Purple Rain.” Theater goers and devoted fans filled the State Theatre for a three-hour retelling of the 1984 film, which made us all go crazy for Prince as “The Kid.” This pre-Broadway debut is not a mere stage transcription; it is a bold and deliberate creative risk, honoring Prince’s legacy by confronting the raw, gritty heart of his original story.
The creative team behind “Purple Rain The Musical” is a deliberate assembly of towering talents, carefully chosen to honor Prince’s legacy while forging a powerful new path for the story.
It all begins, of course, with the story that made Prince a star and put Minneapolis back on the map for many. To translate the film’s gritty heart to the stage, the production secured Branden Jacobs-Jenkins, a two-time Tony Award winner and Pulitzer Prize recipient, to write the book. This choice signals a commitment to serious, profound theatrical weight, moving beyond mere spectacle. What we get is part family drama, part romance, and a major statement on mental health issues.
Directing this monumental debut is Lileana Blain-Cruz, a visionary whose work brings a fresh, dynamic perspective to iconic material. This team is the perfect blend of raw genius, dramatic credibility, and innovative stagecraft, ensuring that The Kid’s fight to find his voice is presented with both integrity and unforgettable theatricality.
Ensuring the pulse of the production is authentically Purple are music supervisor, arranger, and orchestrator Jason Michael Webb (also a Tony Award winner), and choreographer Ebony Williams. Most pivotally, longtime Prince collaborators Bobby “Z” Rivkin and Morris Hayes join the team as Prince Music Advisors, offering an invaluable direct connection to the original sound and energy.
The way this team works together is quite remarkable. There are moments when the staging feels cinematic—with underscored, intercut scenes and beautifully choreographed crossovers telling a story with no dialogue, just haunting lyrics filling the theatre.
Leading the cast is Kris Kollins as The Kid. From the opening downbeat to the show’s finale, it is clear he is a musician and entertainer with a great connection, understanding, and appreciation of Prince. There are times, though, when the storytelling and demanding acting requirements prove a bit overwhelming. Some of his struggle is hidden in the character’s retreat, and some is simply a lack of experience on a musical theatre stage. He is, however, supported by an incredible cast that lifts him up, makes him shine, saves the character, and at times, saves the show.
Photo by Matthew Murphy
As Apollonia, Rachel Webb proves she is a sensational triple threat who cannot only lead a girl group but also command the musical theater stage. Webb is given a meatier role than her movie counterpart, confronting issues all her own. What we get from her is a thrilling performance from the “fresh off the bus” girl to club stardom, demonstrating incredible mastery of singing, dancing, and dramatic acting.
There are moments of raw grit and comedic genius throughout, offered up by this world premiere cast. Jared Howleton’s Morris is that rare blend we love to hate of cocky and cool. His renditions of The Times’ classic hits stand out and have the audience squawking out loud. He’s the effortless slickness and comedic relief that provides the perfect foil to The Kid’s brooding artistic intensity.
The musical counterparts to the characters we know from the movie give solid performances in their own right while shaping the success of The Kid and Apollonia. They are all there, from Wendy and Lisa to Doc and Bobby. One of the brightest among them is Jaci Calderon as Susan, who counsels Apollonia on her “runner” tendencies. She embodies that friend who is always there when needed, with advice that is not always solicited. Her comedic timing is undeniable as she delivers all-too-familiar wisdom.
The time is right to revisit “Purple Rain” and give it the Broadway treatment, and we are blessed to have it debut in the city that Prince loved so much. It is a simple story of a boy meeting a girl and losing girl, told with the lyrics of a generation. This is not the biopic of Prince, nor is it simply a stage version of the movie. The musical features 15 additional songs not heard in the movie, but needed to convey these characters’ struggles and dreams of making it in the music scene. While at times the messaging around mental health seems a bit heavy-handed, perhaps it simply needs to be heard today more than ever. We must take care of our creatives, and they must take care of themselves. I have heard it described that one was “blessed” to be in Prince’s orbit, and this production reminds us of his musical legacy and the mark he left on Minnesota.
This production masterfully honors the past while defining the next chapter of this iconic story. You will witness a convergence of raw creative genius and sophisticated stagecraft. What’s next for this production is unconfirmed, except that it is Broadway-bound. If you are a Prince fan and can secure a ticket before this limited debut closes on Nov. 23, I say do it immediately. This is a crucial, electric moment in musical theater history.
