Ain't Too Proud - The Life and Times of The Temptations - Review

Prince Edward Theatre, London

*****

Music and lyrics from The Legendary Motown Catalog

Book by Dominique Morisseau

Directed by Des McAnuff

The company of Ain't Too Proud

In possibly the finest jukebox musical created, Ain’t Too Proud is a slick take on The Tempations’ rise from the backstreets of Detroit to become the world's most successful R&B group. Transferring to London from Broadway and with Dominique Morisseau's book drawn from Otis Williams’ history of The Temptations, the show picks out the key moments of the group’s arc, liberally interspersing narrative with numbers - and it is a tribute to the cast and crew of this West End iteration that their take on these Motown classics is performed immaculately.

That the first act is perhaps slightly too long and the second, occasionally, too schmaltzy are minor flaws in what is otherwise an evening of perfect musical theatre. Des McAnuff’s direction steers the story from the group’s early years, supporting The Supremes, through the guiding influences of Motown’s Berry Gordy and Smokey Robinson. With The Temptations' journey going on to skirt the complexities of the Vietnam War and America’s Civil Rights evolution, their songs were never less than on point.

Sifiso Mazibuko leads the cast as Williams, The Temptations’ founder and backbone, with a performance that is energising and compelling. William’s assembly of the five Michigan boys who were to take the group to their first No 1 hit, My Girl is slickly told, with all of the cast proving to be outstanding performers. Close your eyes and it *is* The Temptations on stage, with particular mention to Tosh Wanogho-Maud who gives a frenzied interpretation of David Ruffin, a man whose presence contributed much to The Temptations’ meteoric rise and equally to Cameron Bernard Jones whose bass baritone take on Melvin Franklin seems to reach a booming register that’s lower than the Elizabeth Line, such is his vocal gift.

The evening is more than just a five-star whirl through The Temptations' greatest hits. The show credits the music and lyrics as hailing from ‘The Legendary Motown Catalog’ and it is a mark of both the style and largesse of this production that midway through the first act there is a medley of hits from The Supremes. Credit here to Holly Liburd as Diana Ross and her two female-co performers – the brief glimpse that they offer of the legendary girl-band is another of the show's treats. 

More than just the actors though, Sergio Trujillo's Tony-winning choreography is breathtaking in its poise, pinpoint accuracy and vision that effectively transfers the show’s 1960s ethos into a 21st century auditorium. Back in 2004 Trujillo and McAnuff helmed Jersey Boys to greatness on both sides of the Atlantic. Their jukebox genre genius has only improved over the years.  

Situated upstage, Matt Smith directs his 11 piece band magnificently. Their handling of the  classic melodies is pitch perfect and whether the tunes are backing the cast or are played as standalone motifs that segue the story from chapter to chapter, Smith and his band are flawless.

This is a bold production to take to a major West End stage in the current climate. A large performing company fused with multi-million dollar staging and projections requires investing producers with nerves of steel. But when the show is this good, it is money well spent. 

Ain't Too Proud at the Prince Edward Theatre - the brightest sunshine on a cloudy day.

Booking until 1st October

Photo credit: Johan Persson

Jersey Boys - Review

Trafalgar Theatre, London

**** 

Music by Bob Gaudio

Lyrics by Bob Crewe

Book by Marshall Brickman and Rick Elice

Directed by Des McAnuff

The cast of Jersey Boys

A cast - each stars in their own right - perform a riveting, but also humble take on the lives of Frankie Valli and The Four Seasons. Jersey Boys is a story about growing up, the sacrifices that we make along the way and the heartbreak of those left behind, with phenomenal songs to tie it all together.

Ben Joyce leads the cast in his West-End debut as Frankie Valli, with an uncanny musical resemblance to that of the man himself. His voice is distinctive and powerful and manages to capture Frankie’s uniquely powerful falsetto. You won’t leave the show forgetting about his voice any time soon. The audience were in uproar at his solo performances, in particular, the very famous “I can’t take my eyes off of you”, which is without a doubt one of the best renditions of the song. Joyce plays a star, but his authenticity and emotional depth that he brings to Valli is what makes the character truly come alive.

 

Supporting Joyce to make up The Four Seasons are Adam Bailey as Bob Gaudio, Karl James Wilson as Nick Masel and Benjamin Yates as Tommy De Vito. All three give sublime performances in their roles and are just as much stars of the show as Joyce.

Indeed, when the four perform together it is a truly fantastical experience. From Sergio Trujillo's brilliantly choreographed dance moves (Joyce does the splits!) to their 1960s costumes, this show does everything to make you feel like you’ve been transported back in time. A live, black and white video is even displayed at the back of the theatre screen while they are performing the timeless hits. 

Special mention must be given to Yates who encapsulates everything De Vito was about. Being the first character story that the show begins with, Benjamin’s cocky, confident and downright smooth performance firmly thrusts the audience into the golden era of doo-wop quartets performing under the late night street lamps of New Jersey. De Vito is the progenitor of the group, bringing ‘green’ Frankie in and taking him under his wing, despite all his floors, if it wasn’t for De Vito we wouldn’t have the Frankie as we know it. And Yates' portrayal stays cool from beginning to end, eyes are often drawn to his background dancing which just oozes 1960s style.

The set with mics emerging from the stage and street lamps descending from the rafters is the fifth member of the ensemble, truly transporting the audience to the time and period. A fantastic show that the whole family will enjoy.

Booking until 2 January 2022 and also on tour

Photo credit: Mark Senior

Memphis - Review

Shaftesbury Theatre, London

****

Book and lyrics by Jo DiPietro

Music and lyrics by David Bryan

Directed by Christopher Ashley

Beverley Knight and Killian Donnelly

The history of the United States’ black population gaining civil rights is fertile ground for musical theatre. As The Scottsboro Boys opens in the West End dealing with an horrific injustice, so now the Tony-winning Memphis arrives from Broadway. Set in 1950’s Tennessee a deeply segregated Southern state, the redneck white folk don’t tolerate “race music”. No melting pot, Memphis seethes with racist oppression and it is against this backdrop of hatred and lynching that DiPietro and the Bon Jovi keyboards player Bryan have created their tale.

Beverly Knight proves why she’s one of the UK’s greatest soul singers. As Felicia, a girl with a gift of a voice and a quietly acknowledged sensation amongst those who’ve heard her sing, Knight owns every song with her hallmark power. Her opening number Underground defines both the passion of her performance as well as setting the scene for the illicit network of clubs in the city that provide discrete stages for Black music. Her act one solo Coloured Woman is an inspired performance of on-stage soul, rarely witnessed and unforgettable.

Loosely based on the real life radio broadcaster Dewey Phillips, Killian Donnelly is Huey Calhoun, a white disc jockey with a passion for African-American music and who, in a tale woven around fantastic whimsy and some brutally ugly realities, champions Felicia’s singing, breaking down some of society’s segregating barriers and getting her heard on mainstream “center of the dial” music stations. Donnelly has taken leading roles in some of London’s biggest leading shows, but unlike Knight’s pop star fame, outside of the showbiz bubble and hardcore West end fans he is barely known. His casting as Huey however proves to be not only brave, but also inspired. He has a gorgeous blues sound, displayed early on in The Music Of My Soul along with the confidence and poise to lead all his numbers. His character demands an almost geeky appearance, but it’s a veneer that cloaks a Tarantino-esque excellence.

A lot of money has been invested in Memphis and it shows. The sets are clever and the musical numbers that range in style from ranging from rock to spiritual are brilliantly arranged with Sergio Trujillo repeating his Broadway choreography. The first half of the show is stunning, leading to a pre-interval denouement that devastates in its emotional power and musical brilliance. Rarely has one staggered out for a half time G&T quite so moved. Act two however lacks dramatic substance and as the story unwinds there is little to stir the soul other than Clare Machin’s standout performance in Change Don’t Come Easy where, as Huey’s hitherto racist mother, she sings of her shift towards tolerance and acceptance.

Memphis is unquestionably a fine West End treat of a show. With a sensational cast and first rate production values it makes for a grand and moving night at the theatre.


Now booking until 2015