Review: Alliance Theatre’s ‘Preacher’s Wife’ still a work in progress

The plot and characters are much the same but with some twists. Preacher Henry Biggs (Akron Lanier Watson) is the preacher of a Black church in Harlem. He and his wife, Julia (Amber Riley), are having problems, especially trying to keep their congregation out of the hands of developer Joe Hamilton (Alan H. Green). As their relationship becomes strained, it affects their child, Jeremiah (Cameron McCrae). When Henry asks God for help, he receives it in a form he didn’t expect — a ghost named Dudley (Donald Webber Jr. of “Hamilton”).

Also in the ensemble is Loretta Devine (part of the original Broadway version of “Dreamgirls”), who appeared in the movie as secretary Beverly but here plays the role of Marguerite Coleman, Julia’s mother. The show is directed by Michael Arden and Tinashe Kajese-Bolden (Alliance co-artistic director), with Burgess tackling music and lyrics and Azie Dungey (“Unbreakable Kimmy Schmidt”) the book.

Dungey and Burgess have made it a mission to give Julia more of an arc in this version. Indeed, the character does have more of a backstory and backbone, and the changes are satisfying. Luckily, Riley is up to the challenge and quite charismatic here. She dominates the production, with a really affecting ballad (“All I Need”) closing the first act, while Watson is an inspired, vocally rich choice as the conflicted Henry.

Photo by Greg Mooney

Photo by Greg Mooney

Yet even Julia — and other central figures — could use a bit more fleshing out. For a show that lasts well more than two-and-a-half hours, there isn’t as much conflict as the production needs. Some of the supporting characters, such as the villainous developer, don’t register much. The character of Dudley, too, is supposed to shake things up — yet comes across as such a goofy presence that there’s no spark between him and Julia. And while it’s always a pleasure seeing Devine, and she is appealing and blessed with ace comic timing, the role of Marguerite is rather one dimensional.

Some of the music works, especially the church gospel numbers, which feel alive and organic. Best of all is the catchy “Help, Be On the Way,” which becomes a joyous anthem, while “It Ain’t That Serious” is an enjoyable song between husband and wife as they are trying to weather the storm of what’s happening to them. It’s breezy and economically staged.

Yet Burgess’ 24-song score isn’t cohesive. Quite a few numbers don’t make much of an impression, lacking depth and often blurring together. Others never take full flight. Roughly halfway in, Julia pops into a beauty shop and has a makeover in “He’s Seeing Me,” a moment reminiscent of “Hairspray’s” “Welcome to the ‘60s,” but the sequence lacks the oomph it needs. Sound issues also hampered a few of the songs on opening night, including Devine’s big number, “That’s What She Said.”

For those wondering, “I Believe In You” and “Step by Step,” made famous by Houston in the film, are not included.

Arden won the Tony Award last year for Best Director of a Musical for “Parade” and directed the world premiere of the terrific, quirky “Maybe Happy Ending” at the Alliance Theatre in 2020, a show that will be opening on Broadway in September. Tinashe Kajese-Bolden is an accomplished director; Her Alliance version of “Toni Stone” was one of the best Atlanta productions of 2022.

Photo by Greg Mooney

Photo by Greg Mooney

I’m not sure why, though, it’s necessary to have two directors overseeing the material. The production seems a bit unfocused, almost like different voices are behind it. At times, it leans in the direction of wanting to be more grounded, and other times, it’s orchestrated broadly, with one potential showstopper number piled on top of another with no room to breathe.

“The Preacher’s Wife” is one of the larger shows the Alliance has staged recently, with more than 20 members in the ensemble and a lot in general going on, including a flying sequence and other effects. From a technical standpoint, it works quite admirably. Dane Laffrey and Teresa L. Williams’ set is flat-out astonishing, easily switching back and forth from a church to a living room to a boardroom, even to a bar named Jazzy’s. Sarafina Bush’s costumes are beautiful, and Matthew Johnson Harris’ high-energy choreography enlivens some numbers.

The Alliance has birthed many musicals that have gone on to Broadway success, most notably “The Color Purple” and “The Prom.” Just last year, the company premiered the musical “Water for Elephants,” which is a current Broadway success and a seven-time Tony nominee. World premieres are rarely finished products, and most will have some sort of tweaks and trims here and there along their journey. I imagine and hope “The Preacher’s Wife” will go through some fine tuning because there’s real potential in it and memorable moments already. Yet it is a bit underdeveloped, given the level of talent on the stage and behind the scenes.

THEATER REVIEW

“The Preacher’s Wife”

Through June 16 at Alliance Theatre. $25-$130. 1280 Peachtree St. NE, Atlanta. 404-733-4600. alliancetheatre.org

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Jim Farmer is the recipient of the 2022 National Arts and Entertainment Journalism Award for Best Theatre Feature and a nominee for Online Journalist of the Year. A member of five national critics’ organizations, he covers theater and film for ArtsATL. A graduate of the University of Georgia, he has written about the arts for 30-plus years. Jim is the festival director of Out on Film, Atlanta’s LGBTQ film festival, and lives in Avondale Estates with his husband, Craig, and dog, Douglas.

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