Review: ‘Purple Rain’ ends world premiere in a blaze of confidence

They went out on a squealing falsetto.

“Purple Rain” concluded its world premiere Sunday at Minneapolis’ State Theatre with a performance remarkable for its high energy, increased confidence and eruptive joy.

Whether the musical has reached Broadway caliber and how it might fare in New York remain open questions. But in Minneapolis, star Kris Kollins made something of a statement with his closing-night performance, showing a newfound self-assurance and fluidity as the Kid that was a far cry from opening night.

Kollins’ musicianship has never been in doubt, and on Sunday he was in peak Prince mode, writhing on the floor and reaching a feral high note on “The Beautiful Ones,” the chill-inducing number that closes the first act.

“Purple Rain” marked Kollins’ theatrical debut, and he held his own opposite well-trained pros such as Rachel Webb and Jared Howelton. Promisingly for Kollins, he grew in front of tens of thousands of forgiving Minnesotans over his month and a half onstage.

Adapted from Prince’s 1984 film by Tony- and Pulitzer-winner Branden Jacobs-Jenkins and staged as a boisterous concert-cum-behind-the-music drama by Lileana Blain-Cruz, “Rain” faces dramaturgical challenges that it must address if it’s to make it on Broadway.

Can it successfully fuse a Prince tribute concert with a theatrical tour-de-force — and if not, which one will it choose? And is the story truly about the Kid, battling family demons as he tries to break through in Minneapolis’ music scene, or about the two characters who increasingly draw focus: Apollonia and bandleader nemesis Morris?

Beginning previews Oct. 16 before officially opening Nov. 5, “Purple Rain” changed significantly during its six-week Minneapolis run. That evolution points to both a problem and a promise. During its lengthy three-week preview period, the show cut its run time from 3½ to 2½ hours. Yet patrons paid top dollar for tickets to what some likened to a workshop, a disconnect reflected in scathing social media reviews.

The promise of “Purple Rain” lies in how far the show progressed. Performers adapted to whatever came their way — including technical mishaps — and the responsive creative team made substantial changes. (There is still more to trim, including a purple banana and the Grim Reaper suicidal-thoughts concept.)

Still, the burning question remains: Will it go to Broadway?

Producer Orin Wolf has insisted it will. The Minneapolis premiere was a classic “tryout,” the longstanding practice of shaping a show outside New York before critics weigh in. But in the age of social media, the cocoon of the out-of-town tryout has vanished. Some shows in need of further work still head to another city or two before attempting Times Square.

Minnesota’s two most famous tryouts offer a study in contrasts: “The Lion King” premiered at the Orpheum Theatre in 1997 before transferring to New York, where it is now Broadway’s third-longest-running show. “Martin Guerre,” the 1999 Guthrie premiere from the team behind “Les Misérables,” never made it to Manhattan.