Reviewed by Claudia Perry
"Ain't
Misbehavin"
-- The Irresistible "Fats" Waller Musical Show -- now playing at the Prince
Music Theater is
just that -- irresistible. Conceived and originally directed by Richard
Maltby, Jr. it
is a fast paced, high spirited romp through Thomas (aka Fats) Waller's catalogue of classic songs.
The tunes, which range from circa 1922 to 1943, are either composed by Fats
Waller with lyrics by various other lyricists (e.g., "Ain't
Misbehavin", "Squeeze Me" "The Joint is Jumpin'") or are songs composed by others
which the talented singer/songwriter/pianist made into hits. (e.g., "It's
a Sin to Tell a Lie" & "I'm Gonna Sit Right Down and Write Myself
a Letter")
Fats
Waller was not only famous for his signature vocal style but for his great
stride piano skills. "Stride" piano is one of the most difficult
styles of Jazz piano playing to master. It derives its name from the left hand
which "strides" up and down the keyboard throughout a musical number
which incorporates improvisation, swing rhythms and blue notes.
A
cast of six performers headed by Miss Melba Moore swings their way through these
totally singable, swingable, toe tapping numbers. The show itself is in essence
a delightful vaudeville - or, if you will, a musical revue with personality.
And speaking of personality, performerKen Prymus is a big, huggable, teddy bear
of a fellow who beguiles the audience with his smiles, his smirks, his winks,
his double takes and his dead on delivery as can be witnessed in "Honeysuckle
Rose" and "Your
Feet's Too Big".
Eugene Fleming
is a smooth operator moving across the floor effortlessly with a dancer's savvy
grace -- one of his highlights being "That Ain't Right" with Gabrielle Hurtt. Though the three young ladies
that round out this cast are less seasoned than the two gentlemen, they all
still have their delightful moments. Miss Hurtt has a stoic, statuesque
presence, with a no-nonsense voice to back it up. So when this lady sings - you
listen and you like it! Chanta C. Layton a big, pretty girl with a big voice, lots of sass
and a wonderfully expressive face gets big laughs along with Miss Moore on the
funny, sexy, "Find Out What They Like". Andrea Dora has a great, high belt voice,
fine jitterbugging skills and a natural ebullience. If she could take a tip
from Miss Moore and learn to focus on each actorial moment and internalize it,
her already cute and energetic performance would be enhanced.
Unfortunately,
the great Miss Melba Moore is not being shown off to her best advantage in this
revue. Having seen her bring down the house in last season's National Tour of "Chicago" that came through Philadelphia,
we know the lady has still "got it, baby!" This version of
"Ain't Misbehavin' should have been restructured around a star of her
stature. This would have enabled her to be featured in certain numbers (cameo
spots) and allowed her to not have to participate in general group choreography
which ill suits her abilities. However, we do get to watch Miss Moore show us
how it's done and sing a song from the inside out in her solo number - a
wrenching version of "Mean to Me". She also sparkles in her duet
with Miss Layton ("Find Out What They Like") and with Ken Prymus in "Two
Sleepy People"
The
musical direction by Resident Musical Director, Eric Barnes keeps the show and the
"Ain't Misbehavin'" six piece band skipping along at a snappy pace.
Mr. Barnes also shows us how that stride piano is played. Particularly
spectacular is the Entr'acte which is performed at such breakneck speed that
the tempo sounds as if it's written in "one". (One beat per measure -
for the layman.) The original vocal arrangements by Jeffrey Gutcheon &
William Elliott
are delectable and the performer's voices in this production blend beautifully.
It is especially evident on group numbers such as "Black and Blue" and "Lounging at the
Waldorf".
Set
designer, Todd Edward Ivins has created a delicious nightclub set reminiscent of the
famous Cotton Club in Harlem. Set into its center and perfectly placed is the
band which looks terrific, sounds terrific and is never obtrusive - as the
piano moves effortlessly back and forth as the action demands.
The
First Act costumes by Mark Mariani are bright, breezy and well suited to span the large
number of years covered in Act One. (The exception being Miss Moore's costume
which should have been more structured and more befitting a "star".
Let's face it, Miss Moore was added to the cast because she is "a star" and she
should be recognized as one when she first appears onstage. Unfortunately, this
is not the case. Miss Moore first appears on a platform by herself in a
lackluster yellow dress. Being the tiny little slip of a woman she is, the
audience does not know who she is. By the time I realized who she was - the
moment for me to applaud her entrance was long gone.) Second Act wardrobe has
everyone decked out in sophisticated black and rhinestones. All the ladies look
snazzy, sporting large round picture hats. The saucer hats are detached after
the first number to leave a rhinestone cloche hat for the rest of the act.
Large, bright, feather hats and colorful boas are added for Miss Moore and Miss
Layton for their comic duet to great effect.
The
historically accurate choreography by Mercedes Ellington really swings with its jazzy,
jitterbug moves. The only movement I questioned on stage was the use of people
as extras sitting at the tables in the club. They added nothing to the
proceedings as they never spoke a word nor sang a note! On the whole this is a
highly entertaining evening. If you've never seen the show before then it's a
must. I guarantee you will leave the theater singing at least a dozen of these
great songs.